Dominique Blanchar, Gabriele Ferzetti, Lea Massari

Considered by many to be his masterpiece, L’Avventura positioned Michelangelo Antonioni as an international talent. What appears to be a search for a missing person is actually an examination o...( read more  read more... )f alienation and self-discovery found along a voyage through the morally decadent world of the idle rich. Less concerned with a smooth plotline, Antonioni tells his story through the use of symbolic images and flawless character development. Using 'real time’ camera shots and rich, landscape imagery, Michelangelo Antonioni creates an unpredictable world where nothing is ever resolved. Ironically, what makes L’Avventura so unpredictable is the high level of realism portrayed by each character and their environments. This isn’t your packaged, formulaic film with a happy ending. A tough one to watch but well worth it...and it gets better and better with repeat viewings. L’Avventura is quintessential Antonioini. Not to be missed. --Rob Bracco

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Unrated, 2 hrs. 25 min.

Directed by: Michelangelo Antonioni

Release Date: June 29, 1960

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DVD Release Date: July 3, 2001

Stats: 506 reviews

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Flixster Reviews (506)


  • May 5, 2009
    often considered by critics to be one of the 5 or so greatest films in italian cinema history, l'avventura definitely has its strengths, the greatest of which are its striking images. the locations and cinematography are some of the best ever put on film despite the picture qual...( read more)ity being less than par for a film in this era. the actors also played their roles well. really all around the film delivers on an overall concept that is incredibly unique. my only reserve is that the film just didnt resonate with me like it does with most people who see it as a masterpiece. it was a tad overlong and the end was empty and anticlimatic for such an interesting film. overall a very good film that needs to be watched for the historical significance if for no other reason.
  • April 18, 2009
    The title of Michelangelo Antonioni's film "L'avventura" (translated to "The Adventure") could not have been written without a grin. The film, alas, is far from an adventure. It focuses on a mystery with no resolution, a disappearance without a discovery, and characters with trai...( read more)ts that are anything but heroic. It is, instead, another film about the hollowness of bourgeois elites. The film suggests that humanity is not defined by riches, lifestyles, or even friendships. We are, instead, defined by our minds. Once we lose sight of them in favor of materialistic goods or the struggle to maintain societal expectations, we're hopeless: incapable of love, incapable of grief; hell, incapable of feeling.

    A group of wealthy friends are on a yachting trip in the Aeolian Sea. They decide to anchor by a Sicilian volcanic island and explore. One of the couples, Anna (Lea Massari) and Sandro (Gabriele Ferzetti), have been fighting. Anna, intending to be left alone, wonders off on the island apart from the group. Her friend, Claudia (Monica Vitti), and a few others, also enjoy the environment. However, when it is time to go, Anna is nowhere to be found. Did she fall off a cliff? Did she get on a boat? Sandro and Claudia will never know, and neither will we. In fact, the whole first third of the film is largely unacknowledged in the next two.

    We then realize that Anna's friends could just as well disappear. Their lives are completely without emotion - simply void of feeling and legitimate human connection. Love, to them, is another bracelet, a societal expectation that the elites are certainly not going to be seen without. And, of course, even the notion of saying "I love you" comes to bore these hollow creatures.

    Shortly after Anna's disappearance, Sandro kisses Claudia. At first, Claudia pulls away, appalled that Sandro had so quickly gotten over Anna's disappearance. The initial reluctancies are soon forgotten, however, as Claudia and Sandro become lovers. They check into a hotel room together, where much of the film takes place. While Sandro goes downstairs to party and mingle, Claudia is left in the room upstairs. Neither of them mourn Anna throughout the rest of the picture, nor are the mysteries surrounding her disappearance mentioned again.

    "L'avventura" is hard to connect with. The people are so thoroughly dislikable and shallow that they don't make for entirely pleasant company. However, it's the guts of the film that make it so memorable. It's a frustrating film to watch, both for the unresolved mystery and the selfishness of the characters, but it's ultimately fulfilling.
  • September 24, 2008
    Yes, I know, I said I wouldn't watch this first installment of Antonioni's trilogy, but what the heck. If you've already seen two of the three, why not? I mean, this is his reputed masterpiece, right? The film that the audience at Cannes booed but that the judges at Cannes awa...( read more)rded first prize. The film that changed the vocabulary, nay the very "grammar" of cinema for all future filmmakers. Ranked with the likes of Citizen Kane as one of the greatest of all time . . .

    Well, it is good. I enjoyed it much more than L'Eclisse, though not quite as much as La Notte. The characters in La Notte are more engaging -- ironic in a trilogy about, among other things, alienation. The plot of L'Avventura is the most interesting piece of the puzzle for me. It is clever the way Antonioni draws the viewer into a mystery that falls by the wayside. The classic mystery disappears, like Massari, and the true mystery becomes not Masari's soon forgotten vanishing, but the troubling mystery of how far human beings have come from being human. The interconnectedness of people, that communal sharing and caring that allowed civilization to evolve and thrive, is fast slipping away under the pressures of modern life. Still, I think this idea was better rendered in La Notte.

    I rarely listen to those Criterion Collection commentaries. They really can get in the way of enjoying a film. But for my third viewing, I played it. Brother. This is like the worst kind of literature teacher you could ever not want to have teach you. Instead of opening up the possibilities for interpretation, you get:

    These images are not metaphors. They are not suggestive of the old vs. the new. They are concrete images of the old and the new. They are what we call metonymic, not metaphoric.

    That's a rough quote. Mama mia, you would not want to spend a whole semester in a literature class where you are lectured in absolutes like that, believe me. Professor says this is this. You'd better agree. Do not argue. On exams and in papers, please parrot back what I say, if you know what's good for you. Sheesh.

    If I were teaching the class, I might say something like: It has been argued that Antonioni plays with the ideas both of metaphor and of metonym in this film. I can see that the ancient cathedral and the modern condominium in this scene can represent the past and present -- metonyms for "the past" and "the present." But I could also argue that, in the context of this scene, ancient and modern architecture, side by side, are a metaphor for the clash between past history and present circumstance which Antonioni's characters constantly find themselves sandwiched between.

    Begin digression . . .

    "Excuse me, sir, can you please tell me who I can talk to?"

    "Ahem, young man, you know you should never end a sentence with a preposition."

    "Okay, can you please tell me who I can talk to, a--hole!"

    . . . End digression

    Here we see how the two characters, father and unmarried daughter, view her upcoming vacation with her boyfriend -- a clash between the moral codes of the older and the younger generation -- the two are framed by the cathedral and the condominium -- wedged between the old and the new. Much like a pretentious elder who lives by the rules of a grammar which is actually evolving.

    After all, discussion of art should foster a multiplicity of expressed viewpoints. The possibilities should open up, if it's art worth talking about, not be shut down. But what do I know.

  • September 18, 2008
    Mini Review:
    Another Antonioni masterpiece. A visually beautiful tale of alienation and the shallow upper class society. It's a strange movie when first viewed, with a plot structure that lingers and seems to be about one thing and then jumps to somthing else. Its a great mov...( read more)ie with beautiful cinematography and deep meaning.

    Full Review forthcoming
  • May 18, 2008
    è una pépita ! davvero magnifico !
    WHo am I kidding ? I don't speak italian, lol
  • November 9, 2009
    Review coming someday...

    100/100
  • August 28, 2009
    i didn't like this movie for some reason, maybe i should watch it again.
  • August 26, 2009
    And what is the brink of life anyway?So what if a close friend disappears as if the earth swallowed him(or her in our case)?The signs of the weather,of earth,of the future mean nothing,present is the intellectual stimulation we all must utilize to prove our existence.Needless to ...( read more)say it's a requirement to move on whether a misfortune or a laughter approach us,it is continuity!Antonioni's first part is the evidence...
  • July 14, 2009
    Antonioni's most famous film may begin to run out of steam toward the end, but its opening half, set on a desolate Italian island, contains some of the most evocative passages in film. His follow-up film, the also brilliant L'Eclisse, is essentially L'Avventura in reverse--wherea...( read more)s that film begins with stunning visuals representing emotional disconnect, and then returns to normality to examine dissatisfied bourgeoisie moping, L'Eclisse begins with the bourgeois dissatisfaction and culminates in alienated visual grandeur. They both feature great lead turns by the sadly under-appreciated Monica Vitti (who would go on to work with Antonioni several more times, most notably in his great Red Desert), but L'Avventura comes out on top for its unforgettable images and revolutionary cinematic language.
  • June 13, 2009
    I'm afraid I lost patience and interest in this about the time Anna disappears. The relationship between Claudia and Sandro is so insipid and boring, I just wanted that idiot Sandro to die, please, just go away and leave her alone. Blah.

Critic Reviews


January 1, 2000
Roger Ebert, Chicago Sun-Times

L'Avventura becomes a place in our imagination -- a melancholy moral desert. full review

View more L'Avventura (The Adventure) reviews at RottenTomatoes.com

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