Il Grido (1957)

The grim, drab life of a man who labors in a Po Valley sugar refinery in northern Italy provides the center of this black-and-white drama from Michelangelo Antonioni. The worker lives with a married woman and their young daughter. One day, the woman learns that her legal spouse died. The refinery worker immediately proposes, but she spurns him in favor of another. Deeply depressed, the laborer begins to drift aimlessly across the northern wasteland with his daughter in tow. Along the way, he meets many people, including a woman from his past. Despite his many low-key adventures, he is unable to forget his daughter's mother and so returns to find that she lives in a new home with a new child. The story comes to its climax during a demonstration protesting the building of a U.S. airfield where the refinery stands. - by Sandra Brennan - allmovie

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L'Avventura (1960)

This ground-breaking film won a Special Jury Prize at the 1960 Cannes Film Festival and established its director, Michelangelo Antonioni, as a major international talent. The plot concerns a yachting trip by a small group of jaded socialites, including Sandro (Gabriele Ferzetti), an aging architect who sold out for easy money long ago, his mistress Anna (Lea Massari), and her friend Claudia (Monica Vitti), who doesn't fit in with the wealthy jet-setters' dissolute ethics. When Anna disappears during a tour of a volcanic island, Claudia initially blames Sandro's emotionally barren behavior toward her.

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Eclisse, L' (1962)

L'eclisse (The Eclipse) is a 1962 film directed by Michelangelo Antonioni. It is considered the last of a trilogy also comprising L'avventura and La notte. The film tells the story of a young woman who meets an energetic young man, but who is unable to form a solid relationship with him because of the man's materialistic nature. Parts of the movie consist mostly of a drifting narrative. The film won the Jury Special Prize at the Cannes Film Festival and was nominated for the Palme d'Or (Golden Palm).

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La Notte (1961)

La Notte (The Night), the 1961 film by Michelangelo Antonioni, and the second of his Alienation Trilogy, after L’Avventura and before L’Eclisse, is a huge artistic leap up from its predecessor film. It’s not so much that L’Avventura was such a bad film- it’s not. It has its moments, and a good premise that swiftly decays into anomie and melodrama, whereas La Notte, even at an hour and fifty-five minutes in length, is a highly focused, layered, and concentrated, adult drama about the ennui that occurs in a marriage of dilettantes where all of one’s life has been plotted out beforehand, yet happiness still eludes its participants. Yet, La Notte is not Italian neorealism, in the vein of what dominated that country’s cinema in the prior decade, and this is clear from this film’s opening shots, of slowly scaling down the side of a skyscraper to the strains of an otherworldly jazz-like score.

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Cronaca di un amore (1950)

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