A tailspin at the Rome stock exchange serves as a backdrop for a love affair between a translator (Monica Vitti) and her mother’s stockbroker (Alain Delon). Antonioni’s evocation of anomie and alienation was never so exquisitely articulated as in L’ECLISSE. The final scene, in which suspense is built out of an increasingly unbearable absence, is justly famous.
“Of all my old films, L’ECLISSE is the one I like best,” Antonioni claimed in 1967. “From the point of view of style, it is the most rigorous and therefore the most successful. Also the most modern.”
Presented in 35 mm film.
Print from BFI
Courtesy of Janus