Antonioni is more famous for his modern alienation trilogy of
L'Avventura,
La Notte and
L'Eclisse, but I think his masterpiece was birthed three years later with the release of
Red Desert.
If you enjoy expressionistic use of colour, this film is for you. If you enjoy industrial landscapes, this film is for you. If you enjoy Monica Vitti's face, this film is for you.
Top 3:
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| It's hard for me to articulate what I find so striking about this shot. Vitti is dominated in the shot by industry and poisonous gas, creating a subtly ominous image. |
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| More shots of Vitti dwarfed by industry. Antonioni's distinctive framing is on full show here as well as the strong use of colour this film is known for. |
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| Such an otherworldly shot. The characters appear lost in an infinite mist. |
The rest:
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| This kind of shot shows up a lot in the film; the frame is full of people, but Vitti is so far removed from them all. |
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| That background looks hand-drawn. Strangely beautiful. |
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| I love these sparse long shots. |
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| This shot wouldn't look out of place in a post-apocalyptic film. |
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| What are you doing in the woods, tanker? |
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| Tanker, why are you on land? |
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| Alienation! |
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| Stop it, tanker, you're getting up in my grill. |
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| Stop floating, tanker, you are too heavy for that |
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| Tanker, what are you doing in the wall? |
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| Go home, tanker, you are drunk. |
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| The following section is such a departure from the look of the rest of the film; just as colourful, but much less murky. |
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| Good tanker. Stay. |
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