A 2005 essay commissioned by Criterion for their DVD of Eclipse. — J.R.
Your vigilance as an artist is an amorous vigilance, a vigilance of desire.
— Roland Barthes to Michelangelo Antonioni, 1979
It’s lamentable that Michelangelo Antonioni, one of the most fashionable vanguard European filmmakers during the sixties, has mainly been out of fashion ever since. Part of this may be due to the sixties themselves — an era of artistic innovation when making ambitious films about the zeitgeist was still considered both possible and desirable — and all they’ve come to represent in ensuing decades. It seems that the curiosity and metaphysical doubts about the world, which resemble at times agnosticism about reality itself, are more easily tolerated when the glamour of that world is more readily apparent.
This was a time when intellectual activity about the zeitgeist could be debated, if not always welcomed, with Godard and Antonioni the two most commanding figureheads. L’eclisse (1962) appeared the year after Chronicle of a Summer, Last Year at Marienbad, and Paris Belongs to Us, the same year as The Exterminating Angel and Vivre sa vie, and the year before Contempt and Muriel — a period, in short, when large statements and narrative innovations often came together.… Read more »