by guest writer
L’eclisse (Eclipse) brings to an end Michelangelo Antonioni’s trilogy about ephemeral love. Due to its style of characterisation, the film offers a strange attraction and a certain mystery, although the plot structure might seem trivial. The director deliberately outlooks to place the time, thus creating a state of induced dream at some point. Monica Vitti plays the typical Italian woman, Vittoria, whose relationship falls apart at the beginning of the movie. Antonioni refers to a gradually constructed atmosphere and the city’s ordinary landscapes to stress out Vittoria’s state of mind. Piero (Alain Delon) is an ambitious stockbroker who becomes infatuated with the leading female character. The feeling of entrapment is underlined by scenes in which the couple is photographed by fences and railings or kiss through glass, and by Vittoria’s cold reply to Piero when asked what she wants: “I don’t know…” L’eclisse describes best the director’s preference for handling haunted urban space to suggest alienation and captivity in that environment.