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Michelangelo Antonioni's Cannes statement - "Today the world is endangered by an extremely serious split between a science that is totally and consciously projected into the future, and a rigid and stereotyped morality that all of us recognize as such and yet sustain out of cowardice and sheer laziness. Where is this split most evident? What are its most obvious, its most sensitive, let us even say its most painful, areas?
Consider the Renaissance man, his sense of joy, his fullness, his multifarious activities. Those were men of great magnitude, technically able and at the same time artistically creative, capable of feeling their own sense of dignity, their own sense of importance as human beings, the Ptolemaic fullness of man. Then man discovered that his world was Copernican, an extremely limited world in an unknown universe.
And today a new man is being born, fraught with all the fears and terrors and stammerings that are associated with a period of gestation. And what is even more serious, this new man immediately finds himself burdened with a heavy baggage of emotional traits that cannot exactly be called old and outmoded but rather unsuited and inadequate. They condition us without offering us any help; they create problems without suggesting any possible solutions. And yet it seems that man will not rid himself of this baggage. He reacts, he loves, he hates, he suffers under the sway of moral forces and myths that today, when we are at the threshold of reaching the moon, should not be the same as those that prevailed at the time of Homer, but nevertheless are.
Man is quick to rid himself of his technological and scientific mistakes and misconceptions. Indeed, science has never been more humble and less dogmatic than it is today. Whereas our moral attitudes are governed by an absolute sense of stultification. In recent years, we have examined these moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones. We have not been capable of making any headway whatsoever toward a solution to this problem, of this ever-increasing split between moral man and scientific man, a split that is becoming more and more serious and more and more accentuated.
Naturally, I don’t care to, nor can I, resolve it myself; I am not a moralist, and my film is neither a denunciation nor a sermon. It is a story told in images whereby, I hope, it may be possible to perceive not the birth of a mistaken attitude but the manner in which attitudes and feelings are misunderstood today. Because, I repeat, the present moral standards we live by, these myths, these conventions, are old and obsolete. And we all know they are, yet we honor them. Why? The conclusion reached by the protagonists in my film is not one of sentimentality. If anything, what they finally arrive at is a sense of pity for each other. You might say that this too is nothing new. But what else is left if we do not at least succeed in achieving this? Why do you think eroticism is so prevalent today in our literature, our theatrical shows, and elsewhere? It is a symptom of the emotional sickness of our time. But this preoccupation with the erotic would not become obsessive if Eros were healthy, that is, if it were kept within human proportions. But Eros is sick; man is uneasy, something is bothering him. And whenever something bothers him, man reacts, but he reacts badly, only on erotic impulse, and he is unhappy.
The tragedy in L’avventura stems directly from an erotic impulse of this type: unhappy, miserable, futile. To be critically aware of the vulgarity and the futility of such an overwhelming erotic impulse, as is the case with the protagonist in L’avventura, is not enough or serves no purpose. And here we witness the crumbling of a myth that proclaims it is enough for us to know, to be critically conscious of ourselves, to analyze ourselves, in all our complexities and in every facet of our personality. The fact of the matter is that such an examination is not enough. It is only a preliminary step. Every day, every emotional encounter gives rise to a new adventure. For even though we know that the ancient codes of morality are decrepit and no longer tenable, we persist, with a sense of perversity that I would only ironically define as pathetic, in remaining loyal to them. Thus moral man, who has no fear of the scientific unknown, is today afraid of the moral unknown. Starting out from this point of fear and frustration, his adventure can only end in a stalemate."
The paramount example of how 60s European Art Cinema changed the language of film forever.
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In 22 official lists
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This movie ranks #9 in FilmTV's 100 Greatest Italian Films
This movie ranks #10 in Roger Ebert: the great movies
This movie ranks #24 in Il Grande Cinema Italiano
This movie ranks #26 in Sight and Sound 2012 - Combined List
This movie ranks #36 in Cahiers du cinéma 100
This movie ranks #37 in They Shoot Pictures, Don't They?
This movie ranks #37 in Amos Vogel's Film as a Subversive Art
This movie ranks #44 in The 100 Best Films Of World Cinema
This movie ranks #48 in Taschen 100 All-time favorite movies
This movie ranks #52 in TimeOut's 1000 Films to Change Your Life
This movie ranks #53 in The Best 1,000 Movies Ever Made
This movie ranks #61 in The Guardian's 1000 Films to See Before You Die
This movie ranks #102 in The Criterion Collection
This movie ranks #150 in Harvard University's Suggested Film Viewing List: Narrative Films (2012)
This movie ranks #278 in The British Film Institute: 360 Classics
This movie ranks #286 in Empire 500
This movie ranks #348 in 1001 Movies You Must See Before You Die
This movie ranks #400 in UNESCO's Memory of the World: National Cinematic Heritage
This movie ranks #446 in Jonathan Rosenbaum's Essential Films
This movie ranks #482 in Cahiers du cinéma - Yearly top 10s
This movie ranks #509 in Halliwell's Top 1000: The Ultimate Movie Countdown
This movie ranks #577 in Have You Seen? A Personal Introduction to 1,000 Films