• Monica VittiClaudia
  • Gabriele FerzettiSandro
  • Lea MassariAnna
  • Dominique BlancharGiulia
  • Renzo RicciAnna's Father
  • James AddamsCorrado
  • Dorothy De PolioloGloria Perkins
  • Lelio LuttazziRaimondo
  • Giovanni PetrucciPrince Godfrey
  • Esmeralda RuspoliPatrizia
  • Enrico BolognaProduction Supervisor
  • Franco Cimino
  • Giovanni DanesiPhotographer
  • Rita Molè
  • Renato PinciroliZuria, the Journalist
  • Angela Tommasi Di LampedusaPrincess
  • Vincenzo Tranchina
  • Valeria PerriMartina
  • Prof. CuccoEttore (uncredited)
  • Jack O'ConnellOld Man on the Island (uncredited) / Second Assistant Director
  • makdelart17. mars 2026
    You simply can’t take your eyes off Monica Vitti. One of the most intriguing films, with one of the strangest plot structures.
  • lennyofficial-2 d.
    This is the first film in Antonioni’s "trilogy of love"—or, more accurately, the trilogy of incommunicability—comprising *L'avventura*, *La notte*, and *L'eclisse*. It kicks off a series that feels like a masterpiece, even though I watched the films in reverse order. The plot is relatively simple, centering on a tragedy: the disappearance of a young woman named Anna during a boating trip with her partner, other couples, and her best friend, Claudia (played by the incredible Monica Vitti). The first part of the film focuses on the frantic efforts of Claudia and Sandro—Anna’s partner—along with the others, to locate the missing woman. However, an attraction develops between Sandro and Claudia; there is a constant push-and-pull—initially resisted by Claudia, who is still shaken by her friend's fate—until she is completely seduced and falls for Sandro in a way that borders on the pathological and morbid. Yet, Sandro proves unworthy of the total surrender of Claudia’s soul, remaining preoccupied with the physical. In retrospect, Anna—who had lost all emotional attachment to him—had likely sensed this too. The stark contrast between the simple, rural setting of Sicily and the protagonists' high-society background perfectly frames the tension between the carnal—epitomized by the masterful scene where Monica Vitti is ogled by half the men in the small town where they’ve stopped to search for Anna (a moment that is pure cinema)—and the nobility of Claudia’s heart and spirit. Having now completed the trilogy—albeit in reverse—I also find a common thread in the three characters played by Monica Vitti: pensive, enigmatic women who seem almost frightened of love, yet who—upon finding a safe harbor or a shoulder to lean on—melt completely, revealing a unique sweetness. The expansive shots, filled with natural landscapes and village scenery, give even more room for feelings and unspoken words. Simply another MASTERPIECE.

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  • L'AVVENTURA (US)
    L'AVVENTURA (US)Trailer

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