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Very very predictable, including the post credit scene !!!

Memorable, crazy movie

In truth, there is barely enough story here to make a film.

Exactly the movie you think it is, but not the movie you want it to be.

or sketch of feelings, fragments of dialogues, desires as veils, love as intention. a love story. as fragment from Antonini universe. like a cage, like shadows, like meets, like isolated lives. a puzzle , at the first sigh. in fact, memorable scenes - the crash of stock market or the dialogues about Kennya, or the first scene between Vittoria and Ricardo. a film more precise in the description of near reality for 2017 than 1962.

L'ECLISSE is a romantic drama about an alienation, life's riddles and relationships.Vittoria, a young literary translator, breaks off her relationship with her boyfriend, an older writer, in his apartment, following a long night of conversation. Sometime later, she visits her mother at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. She meets a young and energetic stockbroker. He is her mother's stock broker. Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. However, she is impressed with a young stockbroker, his character, outlook and business...Mr. Antonioni has continued his tradition. His vague and abstract pictures are a reflection of human relations and interests. The protagonists are sad, confused and somewhat lifeless. This is not a story about an unhappy or elusive love. This is a story about the needs and emotions in a material world. Mr. Antonioni has made a contrast between the inner moods of a woman and intimidating behavior of a group of people who run for the money. His unconventional narrative reveals a naked truth, especially in final scenes.The characters are lost and vague.Monica Vitti as Vittoria is a timid and suspicious young woman, who sees the pieces of greed and lust in the people around her. Due to her lack of confidence and self introversion, she is trying to establish an abstract relationship with objects. Alain Delon as Piero is a young beauty from a material world. He, unconsciously, complements Vittorias nature. However, his relaxed approach, in terms of love, has a negative effect on her.The last scenes are a kind of projection of a material life, in which a normal existence is not possible.

Vittoria is dissatisfied with love. With life. With the world. She stands before us in a slinky black dress, her white blonde hair afraid of another tease, her cat eyes worried they might look the other way and find yet another object that brings no happiness. A light breeze hits her ethereally beautiful composure, idling from an electric fan that can barely suppress the unbearable heat that has consumed the neighborhood. She wanders around the room like a fashion model clamoring for a good shot, only to promptly lie down on a feathery sofa in protest. As she regains the strength to pick herself back up, she walks over to her older lover with magnetic intent. They talk. They stare at each other in silence. "I'm leaving," Vittoria announces. A few moments go by. Vittoria wants to explain herself — she wishes she could deliver yet another "it's not you, it's me" spiel — but she can't. She doesn't know what she wants, she doesn't know if love is enough, and she sure as hell doesn't know how to explain the emptiness she feels in such a repetitive continuum. But she knows one thing; one more minute of her current life and she might scream her lungs out into a vacant room. Michelangelo Antonioni has a blunt fascination with dissolution, disappearance, and death: in his L'Avventura, a woman simply vanishes into thin air after a boating trip to a remote island. In 1966's Blowup, a dead body is discovered in a park through a series of voyeuristic photos; problem is, the entire crime may just be an illusion. L'Eclisse is a labyrinth of silence and oppression where you can't quite grasp your motives and temptations. Communication only seems to be comfortable when within the barriers of small-talk and flirtations. Everything is so materialistic that if you suddenly died of a heart attack, everyone would gasp for vivid emphasis but turn around and continue self-serving without mourning for a minute. L'Eclisse has the optimism of a cynical teenager, questioning if life really matters and if romance really can make all the difference. It's enormously heavy stuff, and Antonioni ices a rich drizzling of alienation and isolation with the craftsmanship of a master chef. A luminous Monica Vitti portrays Vittoria with such warm-blooded specificity that the coldness of her mental state comes by as a surprise. She is slowly losing the carefree euphoria of her youth, and is beginning to wonder if life, as repetitive as it is, is all that it's cracked up to be. After breaking up with her long-time lover, she begins to find herself attracted to Piero (an always charismatic Alain Delon), a younger stockbroker that emanates confidence and fortunately lacks the acumen that made her former partner such an unwavering bore. It doesn't take long before they embark on a blazing affair, but even with lingering infatuation on their side, they are confronted with their innermost fears, hurting their chances of lasting love.L'Eclisse is not so much a love story as it is an expression of loneliness; the central characters want their hesitations to come to an end, but they can't seem to find themselves fulfilled in any direction they go. As children, they were told that love and marriage and kids and a big house were all you needed to find happiness, but as they age, it becomes increasingly clear that such elementary ideas are merely a distraction, not a solution.Antonioni can't answer the questions he poses with such ardor, but he asks them so convincingly that it proves to be impossible to finish the film without a feeling of despair at the pit of your stomach. The conclusion, which finds both characters alone and out of the picture, is simply a series of city shots that rattle with a stirringly desolate ambiance. It's a courageous way to end a film, but it only deepens what Antonioni was going for already. What if love doesn't matter? What if life doesn't matter? What if we're alone for the rest of our lives? Will anyone care? If sexy stars like Monica Vitti and Alain Delon can't lose themselves in a syrupy love story that tricks us into thinking that the world isn't a cruel place, then who can? L'Eclisse is not for the faint of heart, but if you give it a chance, you'll find yourself experiencing feelings you never thought you'd feel before.Read more reviews at petersonreviews.com

It only takes a few films to become familiar with the methodic ways of Michelangelo Antonioni. Themes of alienation, disconnection, romance without the romance and dealing with an ambiguous existential way of life. It's fascinating but challenging. I came into L'Eclisse wanting to love it because I love L'Avventura and Blowup but deliberately hard to connect to. We're thrown into a vague but disheartening scenario with depressed characters and just have to follow down that road. It has rich cinematography that has beautiful composition, but an gut- sinking emptiness. It's almost too precise and too self-aware. But that's the beauty of the film, its aesthetic is not supposed to be pleasing, even though artistically it should be. In fact, it's painful. Painful to watch the busiest life of the film being at the stock market while the rest of nature is desolate yet so picturesque. Machines and technology are prominent throughout the film and often physically get in the way of human relationships. The film is a profound and quietly poignant statement on human desires and insecurities, if a little held back by a touch of pretence and too cold for its own good.8/10