Michelangelo Antonioni (Italian Michelangelo Antonioni; September 29, 1912, Ferrara - July 30, 2007, Rome) is an Italian film director and screenwriter, a classic of European auteur cinema, who was called "the poet of alienation and lack of communication." In the center of his attention are the problems of modern society considered from the angle of the philosophy of existentialism: spiritual mortification, emotional fatigue, loneliness of people.
Michelangelo Antonioni was born on September 29, 1912 in the city of Ferrara in the Emilia-Romagna region. He graduated from the Higher School of Economics and Commerce in Bologna, at the same time he painted and also wrote critical articles for a local newspaper.
In 1939 he came to Rome, collaborated with the magazines Cinema and Bianco e Nero, becoming one of the theorists of neorealism, studied directing at the film school. In 1942 he trained with the Frenchman Marcel Carne on the set of the movie "The Evening Visitors".
Antonioni made his directorial debut in the documentary People from the Po River, and his first feature film, The Chronicle of a Love, was released in 1950. Then he shot several more pictures that brought him fame in his homeland - "Lady without Camellias", "Girlfriends", "Scream".
Worldwide recognition came to the director in the early 1960s, after the "trilogy of alienation." This term unites the films "Adventure", "Night", "Eclipse", in which Monica Vitti played the muse of Antonioni of those years. All the pictures of the trilogy are connected stylistically and thematically: in black and white landscapes and semi-desert interiors, the destinies of beautiful people (Marcello Mastroianni, Alain Delon, Lea Massari, Jeanne Moreau) are played out, who are unable to form long-term relationships with each other, or figure out what is their purpose in this life.
The film "Red Desert" (1964), which received the main prize of the Venice Film Festival, substantively adjoins the "trilogy of alienation." This is Antonioni's first color film. Antonioni approached the work with color very responsibly, treating landscapes and interiors as complicated architectural and colorful textures, reminiscent of the canvases of Fernand Léger. To achieve the desired effect, he even artificially tinted grass, trees and rivers.
The international success of the last four films prompted Antonioni to accept the offer.