Lo sguardo di Michelangelo

Lo sguardo di Michelangelo
Michelangelo Eye to Eye

“It sounds quite simple, despite the digital trickery that made it possible, but like the montage sequence at the end of L’Eclisse (1962), this is a very intricate simplicity, in terms of framing as well as editing. Conceptually it might be described as one restoration interacting with another restoration – a spectacle that, like all of Antonioni’s greatest films, pointedly raises more questions than it dares to answer, and preserves more mysteries than it can dream of resolving.”

Jonathan Rosenbaum1

  • 1Jonathan Rosenbaum, “The Gaze of Antonioni,” Rouge, 2004.
UPDATED ON 21.03.2018