Scorsese talks about Antonioni, placing him within the context of the era’s European “arthouse” cinema. He also calls L’Eclisse the “boldest” of the three films, “less like a story and more like a poem.” Naturally, Scorsese makes me ashamed for not liking the movie more.
The opening credits of the film, just the first of many inscrutable incongruities throughout L’Eclisse. After opening with a peppy 60’s pop tune called “L’Eclisse Twist”, the music fades into blaring horns and haunting piano thumps.
The mostly wordless 11-minute opening sequence, as Vitti tells her fiancee she has stopped loving him for reasons she doesn’t know. My favorite moment – the oscillating fan blowing her hair in a very consciously cinematic closeup.
The tribal dance sequence, definitely the most discomforting for modern audiences, no matter Antonioni’s intentions:
The shattering final 7 minutes of L’Eclisse, a rush of images that show the emptiness of a society where people can’t connect: