There's always this sense of impending doom, or a sense that nothing is going to come out of nothing in the various interpersonal and romantic relationships of the characters. The men are all supporting cast, and that works perfectly fine because the overarching concern in this film is that of feminine anxiety, and how human relationships are so fragile. We need to feel close with someone, yet when it boils down to it, nothing is concrete and it could be as dynamic and doomed to fail as quickly as it started, all those sparks of love and romance.

When we are lonely, we tend to fall in love more easily, I guess. But very often, we tend to forget that reality or the conditions and limitations of reality are always ready around the corner to lock and trap us back into our own sad shells that we've set up to protect ourselves. Rosetta, for instance, falls in love with her friend Nini's husband, a bitter artist who feels overshadowed and who's jealous of his wife's artistic acheivements. This love obvously won't come to fruition, as the married artist lover loves himself way too much and is not brave enough to leave everything that he has with Nini to be with Rosetta. I thought Rosetta should have known this right from the start, but the truth is, when you're caught up in being in love and imagining that you're in love, such simple truths escape you like the wind caressing your ears.

Similarly, Clelia falls in love with the architect's assistant, who has very different tastes from her and who's not as accomplished as her. It led me to think how sometimes very different people can also share moments of love and tenderness, but when the daylights of reality hit right back in your eyes, the glaring differences that might have before seem negligible, rush at your every senses like needles being poked into your skin. And you realise that being by yourself is actually much better, even if you may always be longing for something more with that somebody.

So you see, Antonioni is a genius. He juggled 10 characters in the film with such sensitivity and creativity, and at the end of it, he carved not just a portrait of a group of decadent, hopeless and self-absorbed women, but also painted a picture of deeper feminine feelings of fear, helplessness and loneliness. Very very excellent film.

le amiche / m. antonioni / 1955

- imi place mai mult titlul povestirii pe care se bazeaza filmul ["tra donne sole"]

- actritele nu sint doar frumoase, ci si incredibil de stilate si elegante.

- "le amiche" sint prezentate cit se poate de realist. pe fata te incurajeaza si te ajuta, pe la spate te birfesc sau iti "imprumuta" iubitul. dar au o viata boema, cu plimbari lungi pe plaja, cu expozitii de arta si showuri de moda, care te face sa le invidiezi.

***

il decameron / pier paolo pasolini / 1971

- nu l-am citit pe boccaccio, deci n-am termen de comparatie [exista dezbateri legate de cit de fidel a prezentat ppp povestirile lui boccaccio]

- pentru ca prezinta 9 povestiri e normal sa aiba multi actori, ce-mi place e ca multi sint amatori, oameni reali si asta se vede. adica e de bine, ii da filmului un aer cit se poate de veridic. nu ne putem imagina ca oamenii secolului 14 erau toti frumosi, trasi prin inel s.a.m.d. adica, ma rog, hollywoodul si-ar putea imagina si asta :)

***

baisers voles / f. truffaut / 1968

domicile conjugal /f. truffaut / 1970

l'amour en fuite /f. truffaut / 1979

- in toate cele 3 filme antoine doinel [jean-pierre leaud] este personajul principal, filmele fiind legate intre ele. se pare ca exista si o colectie numita"aventurile lui antoine doinel", care mai cuprinde inca 2-3 titluri.

- doinel e un personaj care place, in ciuda greselilor pe care le face. e destept si amuzant. nu e usa de biserica, desigur, da'-mi place ca spre deosebire de alti francezi, truffaut nu insista pe partea erotica ci pe povestile lui doinel, lucrurile care i se intimpla.

- urmeaza sa vad les quatre cents coups, primul film al lui truffaut in care apare leaud, pe cind avea doar 15 ani.

***

otto e mezzo [8 1/2] / f. fellini, 1963

- e filmul pe care l-am digerat cel mai greu in ultimul timp, poate pentru ca e cel mai recent vazut, poate pentru ca l-am vazut la ore destul de tirzii sau poate pentru ca intr-adevar e greu de digerat. n-am decit doua explicatii: ori e un film cu intelesuri ascunse si multiple care necesita cel putin doua vizionari, ori trebuie luat ca atare, fara a-i cauta intelesurile de care pomeneam mai inainte.

- se spune ca e cel mai bun film despre film care s-a facut vreodata. o fi.

- se mai spune ca e cel mai autobiografic film al lui fellini si ca de fapt subliniaza dilema tuturor artistilor: ai terminat un film / o carte / etc. si toata lumea e cu ochii si gura pe tine asteptind sa le spui ceva despre urmatorul / urmatoarea, cind tu de fapt habar nu ai [pentru ca astepti muza cea datatoare de inspiratie - nota mea] .

- mi-a placut mastroiani. ca intotdeauna :)

Sono una serie di spot tutti sul genere, con il numero ed il rispettivo significato. Ne ho visti 3-4 ieri in stazione mentre aspettavo l'ennesio treno in ritardo...

Spot simpatico.

nicolò