“Visual geometry” might not be the first phrase that comes to mind when thinking of Michelangelo Antonioni, but a new video essay published by Fandor makes a strong argument for it being among the Italian master’s essential tools. (Well, that and Monica Vitti, of course.)
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The minute-long video offers a brief rundown of Antonioni’s recurring visual motifs, from showing characters looking through windows (“L’Avventura,” “The Passenger”) and walking through doorways (“The Mystery of Oberwald,” “Identification of a Woman”) to being shown through fences (“Red Desert,” “Zabriskie Point”) and traversing vast landscapes (“La Notte,” “Blowup”). It also takes note of his geometric compositions, namely his frequent use of straight, vertical and converging lines.
Read More: ‘American Gods’ Review: Bryan Fuller Paints a Beautiful, Bloody, and Unblinking Portrait of American Duality
“Creating depth,...
Read More: Why ‘Mulholland Drive’ Is the Most Essential Film David Lynch Will Ever Make — Watch
The minute-long video offers a brief rundown of Antonioni’s recurring visual motifs, from showing characters looking through windows (“L’Avventura,” “The Passenger”) and walking through doorways (“The Mystery of Oberwald,” “Identification of a Woman”) to being shown through fences (“Red Desert,” “Zabriskie Point”) and traversing vast landscapes (“La Notte,” “Blowup”). It also takes note of his geometric compositions, namely his frequent use of straight, vertical and converging lines.
Read More: ‘American Gods’ Review: Bryan Fuller Paints a Beautiful, Bloody, and Unblinking Portrait of American Duality
“Creating depth,...
- 4/16/2017
- by Michael Nordine
- Indiewire
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