Watch the full film on the
Welcome to Fandor. Watch thousands of award-winning films online. ×
Click here to take a look at our newly redesigned movie page.

L'avventura1961

Sorry. This film is not currently available.

  • 4.2
Michelangelo Antonioni invented a new film grammar with this masterwork. An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L'AVVENTURA concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover and best friend. Antonioni's controversial international sensation is a gorgeously shot tale of modern ennui and spiritual isolation.

What makes this film worth watching? See All Reviews

1 member likes this review

Superb direction,camera angles and locations all seem to be just a setting for Monica Vitti's character Claudia. The moment she leaves the camera you want her back. Her style can convey varied emotions with just eye movement or the slight turning of the head. As usual with Antonioni the message is perplexing but this one will hold your attention nonetheless. Did I mention Monica Vitti?

Picture?width=100&height=100
top reviewer

Member Reviews (8)

Picture?width=100&height=100
top reviewer

Superb direction,camera angles and locations all seem to be just a setting for Monica Vitti's character Claudia. The moment she leaves the camera you want her back. Her style can convey varied emotions with just eye movement or the slight turning of the head. As usual with Antonioni the message is perplexing but this one will hold your attention nonetheless. Did I mention Monica Vitti?

1 member likes this review

My favorite Italian film.

1 member likes this review
117475.small
top reviewer

a wonderful film_i love Monica Vitti_she's the film for me_she's just magic & everything she does is_i don't really care about Sando & there's some dumb stuff_but the film glides along following a mystery that's never resolved_it has a beautiful pace & presence

243496.small
top reviewer

Antonioni's film is entirely dependent upon the presence of his muse, Monica Vitti. Vitti has a unique erotic charisma, presence and a sort of mystifying beauty and everything that happens in the film depends on it. You simply can't take your eyes off of her. Within only a few minutes of seeing her, she becomes erotically stunning. As the film moves forward the viewer must decide if her character is actually concerned or curious. There seems to be a deception playing out.

Antonioni finds ways to push a suspicious disappearance further way from the film's plot. What at first seems like an essential element for Vitti's character and that of her friend's lover eventually becomes nothing more than a back story. By the time the film drifts to its midpoint, we no longer care longer about the vanished friend, daughter and fiancee.

The primary concern becomes a possibility of love between Vitti and the "worried" fiancee. There is an ever unsettling feeling that the two leading characters hope she is never found. The real kick-spin is that both have different reasons for wishing this person to stay "vanished." It is an alarming shift of gears that doesn't really hit you until long after the movie is over.

The entirety of the film is fascinating and it all belongs to Monica Vitti who commands the screen in both a passive and demanding way. Cinematic magic.

Instead, we are interested in the possibility of love between Vitti and the "worried" fiancee. There is an ever unsettling feeling that Vitti and Ferzetti are wishing that she is never found. The real kick-spin is that both Vitti and Ferzetti may both have different reason for wishing

What can I say about this film that has not already been said. My first Antonioni film and the one I return to again and again. "A gorgeously shot tale of modern ennui and spiritual isolation" - indeed.

Like Last Year At Marienbad - also from 1961 - this is a blueprint of the stylish romance film. Resnais and Antonioni, both masters in the art of exposing characters that drift apart from the plot and every other convention, manage to engage the viewer through the charm of the upper lifestyle fling.

Unlike Resnais's masterpiece, L'Avventura falls in the rush of portraying real emotions, leaving aside the dialectic of the fling that we try to decode. Vitti might be one of the greatest faces ever captured in film, but her tears are not as convincing as her silence.

Beautiful film praised by the likes of Tarkovski, that takes some unappealing detours, but remains brilliant. L'Eclisse would later prove that Antonioni's cinematic world is meant to feel much more cold and unapologetic.

sweeping, magical and memorable