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The films of Michelangelo Antonioni are aesthetically complex – critically stimulating though elusive in meaning. They are ambiguous works that pose difficult questions and resist simple conclusions. Classical narrative causalities are dissolved in favour of expressive abstraction. Displaced dramatic action leads to the creation of a stasis occupied by vague feelings, moods and ideas. Confronted with hesitancy, the spectator is compelled to respond imaginatively and independent of the film. The frustration of this experience reflects that felt in the lives of Antonioni's characters: unable to solve their own personal mysteries they often disappear, leave, submit or die. The idea of abandonment is central to Antonioni's formal structuring of people, objects, and ideas. He evades presences and emphasises related absences. His films are as enigmatic as life: they show that the systematic organisation of reality is a process of individual mediation disturbed by a profound inability to act with certainty.
--
James Brown, of the Ellipsis Film Society, in "Michelangelo Antonioni" at Senses of Cinema

 

Michelangelo Antonioni

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He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up, which I've seen many times, and the other is La Notte, also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade... He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress.

 

Ingmar Bergman

 

You need one of those slave-driving old studio bosses if you ask me, not a sensitive graduate who went into movies because he liked the clouds in Antonioni and then turned himself into a nouvelle vague Deutscher all hot for Truthspiel.

 

Julian Barnes

 

It's a universal tendency in films to be more about sex and violence than the real world is, but I would pose the opposite question: Why are so many characters that you see on TV so desexualized? A lot of them seem to be completely asexual — especially animated characters — and it implies that those characters are normal. The characters in Aeon Flux are normal people who have normal sex lives and appetites.

 

Peter Chung

 

Michelangelo Antonioni's Blow-Up opened in America two months before I became a film critic, and colored my first years on the job with its lingering influence. ... Over three days recently, I revisited Blow-Up in a shot-by-shot analysis. Freed from the hype and fashion, it emerges as a great film, if not the one we thought we were seeing at the time. ... Whether there was a murder isn't the point. The film is about a character mired in ennui and distaste, who is roused by his photographs into something approaching passion. As Thomas moves between his darkroom and the blowups, we recognize the bliss of an artist lost in what behaviorists call the Process; he is not thinking now about money, ambition or his own nasty personality defects, but is lost in his craft. His mind, hands and imagination work in rhythmic sync. He is happy.
Later, all his gains are taken back.... Blow-Up audaciously involves us in a plot that promises the solution to a mystery, and leaves us lacking even its players.

 

Michelangelo Antonioni

 

What I mean by 'thought' is the whole thing — thought, 'felt', the body, the whole society sharing thoughts — it's all one process. It is essential for me not to break that up, because it's all one process; somebody else's thought becomes my thought, and vice versa. Therefore it would be wrong and misleading to break it up into my thought, your thought, my feelings, these feelings, those feelings. I would say that thought makes what is often called in modern language a system. A system means a set of connected things or parts. But the way people commonly use the word nowadays it means something all of whose parts are mutually interdependent — not only for their mutual action, but for their meaning and for their existence. A corporation is organized as a system — it has this department, that department, that department... they don't have any meaning separately; they only can function together. And also the body is a system. Society is a system in some sense. And so on.
Similarly, thought is a system. That system not only includes thought and feelings, but it includes the state of the body; it includes the whole of society — as thought is passing back and forth between people in a process by which thought evolved from ancient times. Thought has been constantly evolving and we can't say when that system began. But with the growth of civilization it has developed a great deal. It was probably very simple thought before civilization, and now it has become very complex and ramified and has much more incoherence than before.
Now, I say that this system has a fault in it — a 'systematic fault'. It is not a fault here, there or here, but it is a fault that is all throughout the system. Can you picture that? It is everywhere and nowhere. You may say "I see a problem here, so I will bring my thoughts to bear on this problem". But "my" thought is part of the system. It has the same fault as the fault I'm trying to look at, or a similar fault.
Thought is constantly creating problems that way and then trying to solve them. But as it tries to solve them it makes it worse because it doesn’t notice that it's creating them, and the more it thinks, the more problems it creates.

 

David Bohm