Director: Michelangelo Antonioni
Cast: Tomas Milian, Daniela Silverio, Christine Boisson
Italy, France, 128’, 1982, color
Italian, French, English with Turkish subtitles
“I don’t know the story yet, but the main character is a woman,” claims the disoriented film director in Antonioni’s last Italian-set inquiry into the imprecise nature of human relationships. The film is a body- and soul-baring voyage into one man’s artistic and erotic consciousness. After his wife leaves him, a film director finds himself drawn into affairs with two enigmatic women: at the same time, he searches for the right subject and actress for his next film. This spellbinding anti-romance was a late-career coup for the legendary Italian filmmaker, and is renowned for its sexual explicitness and an extended scene on a fog-enshrouded highway that stands with the director’s greatest set pieces.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
In 1493, exactly 500 years ago, Leonardo da Vinci was finishing the preparations for casting the equestrian monument (4 times life size), which Ludovico il Moro, Duke of Milan commissioned in memory of his father some 12 years earlier.
I walk over rocks hot as iron under the September sun. I can make out a few lines in the distance, and a few cracked rocks, but apart from those, not a single tree, not one plant
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