
“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
- 1. Jonathan Rosenbaum, “The Gaze of Antonioni,” Rouge, 2004.