Moving on in Michelangelo Antonioni’s L’Avventura

This blog post contains a small collection of frame grabs from Michelangelo Antonioni’s L’Avventura describing how soon people can move on, moving on being a function of the film’s existential question about love.

L’Avventura (The Adventure) made in 1960 is the first film in Michelangelo Antonioni’s decadence trilogy and is followed by La Notte, and L’Eclisse.

I’ve covered both La Notte and L’Eclisse in more depth other blog posts.


Gabriele Ferzetti as Sandro and Monica Vitti as Claudia, already distracted contemplating their future together during the initial search for their missing lover and friend respectively, Anna.


Lea Massari as Anna before her disappearance, with friend Claudia above and lover Sandro below.


Returning to the film’s existential question about love, we’re never entirely clear if love is merely a distraction from the mundanity of the characters’ lives. Do Sandro and Claudia feel guilt contemplating their future together so soon, is this what drives their search for Anna’s disappearance, and when they confess their love for each other how does this, and their doubtless previous confessions to previous lovers, compare to the public perception of the word love.

Reference: L’Avventura – Wikipedia

3 thoughts on “Moving on in Michelangelo Antonioni’s L’Avventura

  1. Pingback: Brutalism and other scenes from Michelangelo Antonioni’s La Notte | RAMTOP

  2. Pingback: Michelangelo Antonioni’s L’Eclisse and lack of external awareness | RAMTOP

  3. We are often haunted by events that seem to occur after we have “wished” them to. Are we subconsciously able to alter the timeline of events and situations simply by thinking about them? Does the universe dare or punish us by allowing even our most selfish thoughts and wishes come true. Even if one didn’t believe in fate, do we allow ourselves to enjoy the coincidental outcome or do we question our past behaviours that may have lead to a change in situation. Interesting.

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