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Michelangelo Antonioni, Cavaliere di Gran Croce OMRI (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents"[1] — L'Avventura
L'Avventura
(1960), La Notte
La Notte
(1961), and L'Eclisse
L'Eclisse
(1962), as well as the English-language Blowup
Blowup
(1966), Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large.[2] He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and story. His films defined a "cinema of possibilities".[2] Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival
Cannes Film Festival
Jury Prize (1960, 1962), Palme d'Or
Palme d'Or
(1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion
Golden Lion
(1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. He is one of three directors to have won the Palme d'Or, the Golden Lion
Golden Lion
and the Golden Bear, and the only director to have won these three and the Golden Leopard.

Contents

1 Early life 2 Career

2.1 Early film work 2.2 International recognition 2.3 Later career

3 Reception 4 Awards and honors 5 Filmography

5.1 Feature films 5.2 Short films

6 References

6.1 Citations 6.2 Bibliography

7 External links

Early life[edit] Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni.[3] The director explained to Italian film critic Aldo Tassone:

My childhood was a happy one. My mother ... was a warm and intelligent woman who had been a laborer in her youth. My father also was a good man. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. Curiously enough, our friends were invariably proletarian, and poor. The poor still existed at that time, you recognized them by their clothes. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous.[4] — Michelangelo Antonioni

While still a child, Antonioni was fond of drawing and music. A precocious violinist, he gave his first concert at the age of nine. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. One of my favorite games consisted of organizing towns. Ignorant in architecture, I constructed buildings and streets crammed with little figures. I invented stories for them. These childhood happenings - I was eleven years old - were like little films."[5] Upon graduation from the University of Bologna
University of Bologna
with a degree in economics, he started writing for the local Ferrara
Ferrara
newspaper Il Corriere Padano in 1935 as a film journalist. In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. However, Antonioni was fired a few months afterward. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left after three months. He was subsequently drafted into the army. During the war Antonioni survived being condemned to death as a member of the Italian resistance.[6] Career[edit] Early film work[edit] In 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. In 1943, he travelled to France to assist Marcel Carné
Marcel Carné
on Les visiteurs du soir
Les visiteurs du soir
and then began a series of short films with Gente del Po (1943), a story of poor fishermen of the Po valley. When Rome
Rome
was liberated by the Allies, the film stock was transferred to the Fascist "Republic of Salò" and could not be recovered and edited until 1947 (the complete footage was never retrieved). These films were neorealist in style, being semi-documentary studies of the lives of ordinary people.[7] However, Antonioni's first full-length feature film Cronaca di un amore (1950) broke away from neorealism by depicting the middle classes. He continued to do so in a series of other films: I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy
Italy
and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche
Le amiche
(The Girlfriends, 1955) about middle class women in Turin. Il grido
Il grido
(The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. Each of these stories is about social alienation.[7] International recognition[edit] In Le Amiche
Le Amiche
(1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style.[7] Antonioni returned to their use in L'avventura (1960), which became his first international success. At the Cannes Film Festival it received a mixture of cheers[8] and boos,[9] but the film was popular in art house cinemas around the world. La notte (1961), starring Jeanne Moreau
Jeanne Moreau
and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. These three films are commonly referred to as a trilogy because they are stylistically similar and all concerned with the alienation of man in the modern world.[10][11][12] La notte
La notte
won the Golden Bear
Golden Bear
award at the 11th Berlin International Film Festival,[13] His first color film, Il deserto rosso (The Red Desert, 1964), deals with similar themes, and is sometimes considered the fourth film of the "trilogy".[1] All of these films star Monica Vitti, his lover during that period. Antonioni then signed a deal with producer Carlo Ponti
Carlo Ponti
that would allow artistic freedom on three films in English to be released by MGM. The first, Blowup
Blowup
(1966),[14] set in Swinging London, was a major international success. The script was loosely based on the short story The Devil's Drool (otherwise known as Blow Up) by Argentinian writer Julio Cortázar. Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. It starred David Hemmings
David Hemmings
and Vanessa Redgrave. The second film was Zabriskie Point (1970), his first set in America and with a counterculture theme. The soundtrack carried popular artists such as Pink Floyd
Pink Floyd
(who wrote new music specifically for the film), the Grateful Dead
Grateful Dead
and the Rolling Stones. However, its release was a critical and commercial disaster. The third, The Passenger (1975), starring Jack Nicholson
Jack Nicholson
and Maria Schneider, received critical praise, but also did poorly at the box office. It was out of circulation for many years, but was re-released for a limited theatrical run in October 2005 and has subsequently been released on DVD. In 1972, in between Zabriskie Point and The Passenger, Antonioni was invited by the Mao government of the People's Republic of China
China
to visit the country. He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist".[15] The documentary had its first showing in China on 25 November 2004 in Beijing
Beijing
with a film festival hosted by the Beijing
Beijing
Film Academy to honor the works of Michelangelo Antonioni. Later career[edit] In 1980, Antonioni made Il mistero di Oberwald
Il mistero di Oberwald
(The Mystery of Oberwald), an experiment in the electronic treatment of color, recorded in video then transferred to film, featuring Monica Vitti once more. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders
Wim Wenders
filmed some scenes. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes.[16] They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo. In 1994 he was given the Honorary Academy Award
Academy Award
"in recognition of his place as one of the cinema's master visual stylists." It was presented to him by Jack Nicholson. Months later, the statuette was stolen by burglars and had to be replaced. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso.[17] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism.[18] The U.S. DVD
DVD
release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo). Antonioni died aged 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. Antonioni lay in state at City Hall in Rome
Rome
where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. He was buried in his home town of Ferrara
Ferrara
on 2 August 2007. Reception[edit] Film historian Virginia Wright Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual."[19] In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness". He said his films explore the paradox that "we have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones." Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."[20] One of the recurring themes in Antonioni's films is characters who suffer from ennui and whose lives are empty and purposeless aside from the gratification of pleasure or the pursuit of material wealth. Film historian David Bordwell
David Bordwell
writes that in his films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost."[21] Antonioni's films tend to have spare plots and dialogue, and much of the screen time is spent lingering on certain settings, such as the seven-minute continuous take at the end of The Passenger and the beautiful long-take near the beginning that "mixes time", or the scene in L'Eclisse
L'Eclisse
in which Monica Vitti
Monica Vitti
stares curiously at electrical posts accompanied by ambient sounds of wires clanking. Virginia Wright Wexman summarizes his style in the following terms: "The camera is placed at a medium distance more often than close in, frequently moving slowly; the shots are permitted to extend uninterrupted by cutting. Thus each image is more complex, containing more information than it would in a style in which a smaller area is framed ... In Antonioni's work we must regard his images at length; he forces our full attention by continuing the shot long after others would cut away."[19] Antonioni is also noted for exploiting colour as a significant expressive element of his cinematic style, especially in Il deserto rosso, his first colour film.[22] Bordwell explains that Antonioni's films were extremely influential on subsequent art films: "More than any other director, he encouraged filmmakers to explore elliptical and open-ended narrative".[21] Film director Akira Kurosawa
Akira Kurosawa
considered Antonioni one of the most interesting filmmakers.[23] Stanley Kubrick
Stanley Kubrick
listed La Notte
La Notte
as one of his ten favorite films in a 1963 Poll.[24] Miklós Jancsó
Miklós Jancsó
considers Antonioni as his master. Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Ingmar Bergman
Ingmar Bergman
stated in 2002 that he considered some of Antonioni's films, including Blowup
Blowup
and La notte, masterpieces for their detached and dreamlike quality, but found the other films boring and noted that he had never understood why Antonioni was held in such esteem. Orson Welles
Orson Welles
regretted the Italian director's use of the long take: "I don't like to dwell on things. It's one of the reasons I'm so bored with Antonioni - the belief that, because a shot is good, it's going to get better if you keep looking at it. He gives you a full shot of somebody walking down a road. And you think, 'Well, he's not going to carry that woman all the way up that road.' But he does. And then she leaves and you go on looking at the road after she's gone."[25] American actor Peter Weller, whom Antonioni directed in Beyond the Clouds, explained in a 1996 interview: "There is no director living except maybe Kurosawa, Bergman, or Antonioni that I would fall down and do anything for. I met Antonioni three years ago in Taormina
Taormina
at a film festival. I introduced myself and told him that I adored his movies, his contributions to film, because he was the first guy who really started making films about the reality of the vacuity between people, the difficulty in traversing this space between lovers in modern day ... and he never gives you an answer, Antonioni—that's the beautiful thing."[26] Awards and honors[edit]

Academy Honorary Award (1995) Berlin International Film Festival
Berlin International Film Festival
FIPRESCI Prize (1961) Berlin International Film Festival
Berlin International Film Festival
Golden Bear
Golden Bear
(1961), for La Notte Bodil Award for Best European Film (1976), for The Passenger British Film Institute
British Film Institute
Sutherland Trophy (1960), for L'Avventura Cannes Film Festival
Cannes Film Festival
Jury Prize (1960), for L'Avventura Cannes Film Festival
Cannes Film Festival
Jury Prize (1962), for Eclipse Cannes Film Festival
Cannes Film Festival
Palme d'Or
Palme d'Or
(1967), for Blowup Cannes Film Festival
Cannes Film Festival
35th Anniversary Prize (1982), for Identification of a Woman David di Donatello
David di Donatello
Award for Best Director (1961), for La Notte David di Donatello
David di Donatello
Luchino Visconti
Luchino Visconti
Award (1976) European Film Awards
European Film Awards
Life Achievement Award (1993) Flaiano Prize Career Award in Cinema (2000) French Syndicate of Cinema Critics Award for Best Foreign Film (1968), for Blowup Giffoni Film Festival François Truffaut
François Truffaut
Award (1991) Giffoni Film Festival Golden Career Gryphon (1995) International Istanbul Film Festival
International Istanbul Film Festival
Lifetime Achievement Award (1996) Italian National Syndicate of Film Journalists Silver Ribbon for Best Documentary (1948), for N.U. Italian National Syndicate of Film Journalists Silver Ribbon for Best Documentary (1950), for Lies of Love Italian National Syndicate of Film Journalists Special
Special
Silver Ribbon (1951), for Story of a Love Affair Italian National Syndicate of Film Journalists Silver Ribbon for Best Director (1956), for Le Amiche Italian National Syndicate of Film Journalists Silver Ribbon for Best Director (1962), for La Notte Italian National Syndicate of Film Journalists Silver Ribbon for Best foreign film Director (1968), for Blow up Italian National Syndicate of Film Journalists Silver Ribbon for Best Director (1976), for The Passenger Kansas City Film Critics Circle Award for Best Director (1968), for Blowup Locarno International Film Festival
Locarno International Film Festival
Prize (1957), for Il Grido Montreal World Film Festival
Montreal World Film Festival
Grand Prix Special
Special
des Amériques (1995) National Society of Film Critics Special
Special
Citation Award (2001) National Society of Film Critics Award for Best Director (2001), for Blowup Palm Springs International Film Festival Lifetime Achievement Award (1998) Valladolid International Film Festival FIPRESCI Prize for Short Film (2004), for Michelangelo Eye to Eye Venice Film Festival
Venice Film Festival
Silver Lion (1955), for Le Amiche Venice Film Festival
Venice Film Festival
FIPRESCI Prize (1964), for Red Desert Venice Film Festival
Venice Film Festival
Golden Lion
Golden Lion
(1964), for Red Desert Venice Film Festival
Venice Film Festival
Career Golden Lion
Golden Lion
(1983) Venice Film Festival
Venice Film Festival
FIPRESCI Prize (1995), for Beyond the Clouds (with Wim Wenders) Venice Film Festival
Venice Film Festival
Pietro Bianchi Award (1998)

Filmography[edit] Feature films[edit]

Story of a Love Affair
Story of a Love Affair
(Cronaca di un amore, 1950) I Vinti
I Vinti
(The Vanquished, 1952) The Lady Without Camelias
The Lady Without Camelias
(La signora senza camelie, 1953) Le Amiche
Le Amiche
(The Girl Friends, 1955) Il Grido
Il Grido
(The Cry, 1957) L'Avventura
L'Avventura
(The Adventure, 1960) La Notte
La Notte
(The Night, 1961) L'Eclisse
L'Eclisse
(Eclipse, 1962) Red Desert (1964) Blowup
Blowup
(1966) Zabriskie Point (1970) Chung Kuo, Cina (documentary, 1972) The Passenger (1975) The Mystery of Oberwald
The Mystery of Oberwald
(Il mistero di Oberwald, 1981) Identification of a Woman
Identification of a Woman
(Identificazione di una donna, 1982) Beyond the Clouds (Al di là delle nuvole, 1995) with Wim Wenders

Short films[edit]

Gente del Po (People of the Po Valley, filmed in 1943, released in 1947) 10 minutes N.U. (Dustmen, 1948) 11 minutes Oltre l'oblio (1948) Roma-Montevideo (1948) Lies of Love (L'amorosa menzogna, 1949) 10 minutes Sette canne, un vestito (Seven Reeds, One Suit, 1949) 10 minutes Bomarzo (1949) Ragazze in bianco (Girls in White, 1949) Superstizione (Superstition, 1949) 9 minutes La villa dei mostri (The House of Monsters, 1950) 10 minutes La funivia del Faloria (The Funicular of Mount Faloria, 1950) 10 minutes Tentato suicido (When Love Fails, 1953) episode in L'amore in città (Love in the City) Il provino (1965) episode in I tre volti Inserto girato a Lisca Bianca (1983) 8 minutes Kumbha Mela (1989) 18 minutes Roma (Rome, 1989) episode in 12 registi per 12 città, for the 1990 FIFA World Cup Noto, Mandorli, Vulcano, Stromboli, Carnevale (Volcanoes and Carnival, 1993) 8 minutes Sicilia (1997) 9 minutes Lo sguardo di Michelangelo (The Gaze of Michelangelo, 2004) 15 minutes Il filo pericoloso delle cose (The Dangerous Thread of Things, 2004) episode in Eros

References[edit] Citations[edit]

^ a b Holden, Stephan (4 June 2006). "Antonioni's Nothingness and Beauty". The New York Times. Retrieved 21 May 2012.  ^ a b Ankeny, Jason. "Michelangelo Antonioni". AllMovie. Retrieved 21 May 2012.  ^ "Michelangelo Antonioni, Director". Film Reference. Retrieved 9 May 2016.  ^ Tassone 2002, p. 6. ^ Tassone 2002, p. 7. ^ Bachmann, Gideon; Antonioni, Michelangelo (Summer 1975). "Antonioni after China: Art versus Science". 28 (4). Berkley: University of California Press: 26–30. JSTOR 1211645.  ^ a b c Cook 2004, p. 535. ^ Houston, Penelope (31 July 2007). "Obituary: Michelangelo Antonioni". The Guardian. Retrieved 9 May 2016.  ^ Bradshaw, Peter (27 September 2012). "Michelangelo Antonioni: Centenary of a Forgotten Giant". The Guardian. Retrieved 9 May 2016.  ^ Gazetas 2008, p. 246. ^ Wakeman 1988, p. 65. ^ Cameron & Wood 1971, p. 105. ^ "Berlinale 1961: Prize Winners". Berlinale. Retrieved 23 January 2010.  ^ Tast, Brigitte; Tast, Hans-Jürgen (14 March 2014). "Light Room, Dark Room: Antonioni's Blow-Up und der Traumjob Fotograf". Kulleraugen (in German) (44). ISBN 978-3-88842-044-3.  ^ Echo and Leefeld 1977, pp. 8–12. ^ Wenders 2000, p. 79. ^ Johnston, Ian (August 1, 2006). "We're Not Happy and We Never Will Be". Bright Lights Film Journal. Retrieved 9 May 2016.  ^ Ebert, Roger (8 April 2005). "Eros". Chicago Sun-Times. Retrieved March 28, 2016.  ^ a b Wexman 2006, p. 312. ^ Samuels, Charles Thomas (29 July 1969). "Interview with Michelangelo Antonioni in Rome". Euro Screenwriters. Retrieved 9 May 2016.  ^ a b Bordwell and Thompson 2002, pp. 427–428. ^ Grant 2006, p. 47. ^ Kurosawa, Akira: Something Like an Autobiography, p.242. Alfred A. Knopf, Inc., 1982. ^ Ciment 2003, p. 34. ^ Bogdanovich 1992, pp. 103–104. ^ "From Acting to Directing, Cigars to Jazz, Actor Peter Weller
Peter Weller
Is a Man of Many Passions". Cigar Aficionado. 1 March 1996. Retrieved 9 May 2016. 

Bibliography[edit]

Antonioni, Michelangelo (1963). Screenplays of Michelangelo Antonioni. New York: Orion Press.  Arrowsmith, William (1995). Ted Perry, ed. Antonioni: The Poet of Images. New York: Oxford University Press. ISBN 978-0-19-509270-7.  Bogdanovich, Peter (1992). This is Orson Welles. New York: HarperPerennial. ISBN 978-0-306-80834-0.  Bordwell, David; Thompson, Kristin (2002). Film History: An Introduction. New York: McGraw-Hill. ISBN 978-0-07-338613-3.  Brunette, Peter (1998). The Films of Michelangelo Antonioni. New York: Cambridge University Press. ISBN 978-0-521-38992-1.  Cameron, Ian Alexander; Wood, Robin (1971). Antonioni. New York: Praeger.  Chatman, Seymour (1985). Antonioni: The Surface of the World. Berkeley: University of California Press. ISBN 978-0-520-05341-0.  Chatman, Seymour (2008). Michelangelo Antonioni: The Complete Films. Köln: Taschen. ISBN 978-3-8228-3030-7.  Ciment, Michel (2003). Kubrick: The Definitive Edition. London: Faber & Faber. ISBN 978-0-571-21108-1.  Cook, David A. (2004). A History of Narrative Film. New York: Norton. ISBN 978-0-393-97868-1.  Eco, Umberto; Leefeldt, Christina (1977). De Interpretatione, or the Difficulty of Being Marco Polo. Film Quarterly 30.4: Special
Special
Book Issue: 8-12.  Gazetas, Aristides (2008). An Introduction to World Cinema (Second ed.). Jefferson, NC: McFarland. ISBN 978-0-7864-3907-2.  Grant, Barry Keith (2007). Schirmer Encyclopedia of Film, Vol 4. Farmington Hills, MI: Thomson Gale. ISBN 978-0-02-865795-0.  Kurosawa, Akira (1982). Something Like an Autobiography. New York: Alfred A. Knopf. ISBN 978-0-394-50938-9.  Lyons, Robert Joseph (1976). Michelangelo Antonioni's Neo-Realism: A World View. Dissertation on Film. North Stratford, NH: Ayer Company Publishers. ISBN 978-0-405-07618-3.  Pomerance, Murray (2011). Michelangelo Red Antonioni Blue: Eight Reflections on Cinema. Berkeley: University of California Press. ISBN 978-0-520-25870-9.  Samuels, Charles Thomas (1972). Encountering Directors. New York: G.P. Putnam's Sons. ISBN 978-0-306-80286-7.  Tassone, Aldo (2002). I film di Michelangelo Antonioni: un poeta della visione. Milan: Gremese Editore. ISBN 978-88-8440-197-7.  Wakeman, John, ed. (1988). World Film Directors: Volume Two, 1945–1985. New York: H.W. Wilson. ISBN 978-0-8242-0763-2.  Wenders, Wim (2000). My Time with Antonioni: The Diary of an Extraordinary Experience. London: Faber & Faber. ISBN 978-0-571-20076-4.  Wexman, Virginia Wright (2006). A History of Film. Boston: Pearson. ISBN 978-0-205-62528-4. 

External links[edit]

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v t e

Films directed by Michelangelo Antonioni

Feature films

Story of a Love Affair
Story of a Love Affair
(1950) I Vinti
I Vinti
(1952) The Lady Without Camelias
The Lady Without Camelias
(1953) Le Amiche
Le Amiche
(1955) Il Grido
Il Grido
(1957) L'Avventura
L'Avventura
(1960) La Notte
La Notte
(1961) L'Eclisse
L'Eclisse
(1962) Red Desert (1964) Blowup
Blowup
(1966) Zabriskie Point (1970) Chung Kuo, Cina (1972) The Passenger (1975) The Mystery of Oberwald
The Mystery of Oberwald
(1981) Identification of a Woman
Identification of a Woman
(1982) Beyond the Clouds (1995)

Short films

N.U. (1948) Lies of Love (1949) "Attempted Suicide" in Love in the City (1953) "The Screen Test" in The Three Faces
The Three Faces
(1965) "The Dangerous Thread of Things" in Eros (2004)

Awards for Michelangelo Antonioni

v t e

Academy Honorary Award

1928–1950

Warner Bros.
Warner Bros.
/ Charlie Chaplin
Charlie Chaplin
(1928) Walt Disney
Walt Disney
(1932) Shirley Temple
Shirley Temple
(1934) D. W. Griffith
D. W. Griffith
(1935) The March of Time
The March of Time
/ W. Howard Greene and Harold Rosson (1936) Edgar Bergen
Edgar Bergen
/ W. Howard Greene / Museum of Modern Art
Museum of Modern Art
Film Library / Mack Sennett
Mack Sennett
(1937) J. Arthur Ball / Walt Disney
Walt Disney
/ Deanna Durbin
Deanna Durbin
and Mickey Rooney
Mickey Rooney
/ Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner
Harry Warner
(1938) Douglas Fairbanks
Douglas Fairbanks
/ Judy Garland
Judy Garland
/ William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939) Bob Hope
Bob Hope
/ Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski
Leopold Stokowski
and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer
Charles Boyer
/ Noël Coward
Noël Coward
/ Metro-Goldwyn-Mayer
Metro-Goldwyn-Mayer
(1942) George Pal
George Pal
(1943) Bob Hope
Bob Hope
/ Margaret O'Brien
Margaret O'Brien
(1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger
Walter Wanger
/ The House I Live In / Peggy Ann Garner (1945) Harold Russell
Harold Russell
/ Laurence Olivier
Laurence Olivier
/ Ernst Lubitsch
Ernst Lubitsch
/ Claude Jarman Jr. (1946) James Baskett
James Baskett
/ Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor
George Kirke Spoor
/ Bill and Coo / Shoeshine (1947) Walter Wanger
Walter Wanger
/ Monsieur Vincent
Monsieur Vincent
/ Sid Grauman
Sid Grauman
/ Adolph Zukor
Adolph Zukor
(1948) Jean Hersholt
Jean Hersholt
/ Fred Astaire
Fred Astaire
/ Cecil B. DeMille
Cecil B. DeMille
/ The Bicycle Thief (1949) Louis B. Mayer
Louis B. Mayer
/ George Murphy
George Murphy
/ The Walls of Malapaga (1950)

1951–1975

Gene Kelly
Gene Kelly
/ Rashomon
Rashomon
(1951) Merian C. Cooper
Merian C. Cooper
/ Bob Hope
Bob Hope
/ Harold Lloyd
Harold Lloyd
/ George Mitchell / Joseph M. Schenck / Forbidden Games
Forbidden Games
(1952) 20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye
Danny Kaye
/ Kemp Niver / Greta Garbo / Jon Whiteley
Jon Whiteley
/ Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor
Eddie Cantor
(1956) Society of Motion Picture and Television Engineers
Society of Motion Picture and Television Engineers
/ Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Chevalier
Maurice Chevalier
(1958) Buster Keaton
Buster Keaton
/ Lee de Forest
Lee de Forest
(1959) Gary Cooper
Gary Cooper
/ Stan Laurel
Stan Laurel
/ Hayley Mills
Hayley Mills
(1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins
Jerome Robbins
(1961) William J. Tuttle
William J. Tuttle
(1964) Bob Hope
Bob Hope
(1965) Yakima Canutt
Yakima Canutt
/ Y. Frank Freeman
Y. Frank Freeman
(1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant
Cary Grant
(1969) Lillian Gish
Lillian Gish
/ Orson Welles
Orson Welles
(1970) Charlie Chaplin
Charlie Chaplin
(1971) Charles S. Boren / Edward G. Robinson
Edward G. Robinson
(1972) Henri Langlois
Henri Langlois
/ Groucho Marx
Groucho Marx
(1973) Howard Hawks
Howard Hawks
/ Jean Renoir
Jean Renoir
(1974) Mary Pickford
Mary Pickford
(1975)

1976–2000

Margaret Booth (1977) Walter Lantz
Walter Lantz
/ Laurence Olivier
Laurence Olivier
/ King Vidor
King Vidor
/ Museum of Modern Art Department of Film (1978) Hal Elias / Alec Guinness
Alec Guinness
(1979) Henry Fonda
Henry Fonda
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Mickey Rooney
Mickey Rooney
(1982) Hal Roach
Hal Roach
(1983) James Stewart
James Stewart
/ National Endowment for the Arts
National Endowment for the Arts
(1984) Paul Newman
Paul Newman
/ Alex North (1985) Ralph Bellamy
Ralph Bellamy
(1986) Eastman Kodak
Kodak
Company / National Film Board of Canada
National Film Board of Canada
(1988) Akira Kurosawa
Akira Kurosawa
(1989) Sophia Loren
Sophia Loren
/ Myrna Loy
Myrna Loy
(1990) Satyajit Ray
Satyajit Ray
(1991) Federico Fellini
Federico Fellini
(1992) Deborah Kerr
Deborah Kerr
(1993) Michelangelo Antonioni
Michelangelo Antonioni
(1994) Kirk Douglas
Kirk Douglas
/ Chuck Jones
Chuck Jones
(1995) Michael Kidd
Michael Kidd
(1996) Stanley Donen
Stanley Donen
(1997) Elia Kazan
Elia Kazan
(1998) Andrzej Wajda
Andrzej Wajda
(1999) Jack Cardiff
Jack Cardiff
/ Ernest Lehman (2000)

2001–present

Sidney Poitier
Sidney Poitier
/ Robert Redford
Robert Redford
(2001) Peter O'Toole
Peter O'Toole
(2002) Blake Edwards
Blake Edwards
(2003) Sidney Lumet
Sidney Lumet
(2004) Robert Altman
Robert Altman
(2005) Ennio Morricone
Ennio Morricone
(2006) Robert F. Boyle (2007) Lauren Bacall
Lauren Bacall
/ Roger Corman
Roger Corman
/ Gordon Willis
Gordon Willis
(2009) Kevin Brownlow / Jean-Luc Godard
Jean-Luc Godard
/ Eli Wallach
Eli Wallach
(2010) James Earl Jones
James Earl Jones
/ Dick Smith (2011) D. A. Pennebaker
D. A. Pennebaker
/ Hal Needham
Hal Needham
/ George Stevens Jr.
George Stevens Jr.
(2012) Angela Lansbury
Angela Lansbury
/ Steve Martin
Steve Martin
/ Piero Tosi (2013) Jean-Claude Carrière
Jean-Claude Carrière
/ Hayao Miyazaki
Hayao Miyazaki
/ Maureen O'Hara
Maureen O'Hara
(2014) Spike Lee
Spike Lee
/ Gena Rowlands
Gena Rowlands
(2015) Jackie Chan
Jackie Chan
/ Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016) Charles Burnett / Owen Roizman / Donald Sutherland
Donald Sutherland
/ Agnès Varda (2017)

v t e

European Film Academy Lifetime Achievement Award

  Ingmar Bergman
Ingmar Bergman
(1988)   Marcello Mastroianni
Marcello Mastroianni
(1988)   Federico Fellini
Federico Fellini
(1989)   Andrzej Wajda
Andrzej Wajda
(1990)   Alexandre Trauner (1991)   Billy Wilder
Billy Wilder
(1992)   Michelangelo Antonioni
Michelangelo Antonioni
(1993)   Robert Bresson (1994)   Marcel Carné
Marcel Carné
(1995)   Alec Guinness
Alec Guinness
(1996)   Jeanne Moreau
Jeanne Moreau
(1997)   Ennio Morricone
Ennio Morricone
(1999)   Richard Harris
Richard Harris
(2000)   Monty Python
Monty Python
(2001)   Tonino Guerra
Tonino Guerra
(2002)   Claude Chabrol
Claude Chabrol
(2003)   Carlos Saura
Carlos Saura
(2004)   Sean Connery
Sean Connery
(2005)   Roman Polanski
Roman Polanski
(2006)   Jean-Luc Godard
Jean-Luc Godard
(2007)   Judi Dench
Judi Dench
(2008)   Ken Loach
Ken Loach
(2009)   Bruno Ganz
Bruno Ganz
(2010)   Stephen Frears
Stephen Frears
(2011)   Bernardo Bertolucci
Bernardo Bertolucci
(2012)   Catherine Deneuve
Catherine Deneuve
(2013)   Agnès Varda
Agnès Varda
(2014)   Charlotte Rampling
Charlotte Rampling
(2015)   Jean-Claude Carrière
Jean-Claude Carrière
(2016) Alexander Sokurov
Alexander Sokurov
(2017)

v t e

David di Donatello
David di Donatello
Award for Best Director

1956–1980

Gianni Franciolini
Gianni Franciolini
(1956) Federico Fellini
Federico Fellini
(1957) Alberto Lattuada
Alberto Lattuada
(1959) Federico Fellini
Federico Fellini
(1960) Michelangelo Antonioni
Michelangelo Antonioni
(1961) Ermanno Olmi
Ermanno Olmi
(1962) Vittorio De Sica
Vittorio De Sica
(1963) Pietro Germi (1964) Francesco Rosi
Francesco Rosi
/ Vittorio De Sica
Vittorio De Sica
(1965) Alessandro Blasetti / Pietro Germi (1966) Luigi Comencini
Luigi Comencini
(1967) Carlo Lizzani
Carlo Lizzani
(1968) Franco Zeffirelli
Franco Zeffirelli
(1969) Gillo Pontecorvo
Gillo Pontecorvo
(1970) Luchino Visconti
Luchino Visconti
(1971) Franco Zeffirelli
Franco Zeffirelli
/ Sergio Leone
Sergio Leone
(1972) Luchino Visconti
Luchino Visconti
(1973) Federico Fellini
Federico Fellini
(1974) Dino Risi
Dino Risi
(1975) Mario Monicelli
Mario Monicelli
/ Francesco Rosi
Francesco Rosi
(1976) Valerio Zurlini / Mario Monicelli
Mario Monicelli
(1977) Ettore Scola
Ettore Scola
(1978) Francesco Rosi
Francesco Rosi
(1979) Gillo Pontecorvo
Gillo Pontecorvo
/ Marco Bellocchio
Marco Bellocchio
(1980)

1981–2000

Francesco Rosi
Francesco Rosi
(1981) Marco Ferreri
Marco Ferreri
(1982) Paolo and Vittorio Taviani
Paolo and Vittorio Taviani
(1983) Ettore Scola
Ettore Scola
(1984) Francesco Rosi
Francesco Rosi
(1985) Mario Monicelli
Mario Monicelli
(1986) Ettore Scola
Ettore Scola
(1987) Bernardo Bertolucci
Bernardo Bertolucci
(1988) Ermanno Olmi
Ermanno Olmi
(1989) Mario Monicelli
Mario Monicelli
(1990) Marco Risi
Marco Risi
/ Ricky Tognazzi
Ricky Tognazzi
(1991) Gianni Amelio
Gianni Amelio
(1992) Roberto Faenza
Roberto Faenza
/ Ricky Tognazzi
Ricky Tognazzi
(1993) Carlo Verdone
Carlo Verdone
(1994) Mario Martone
Mario Martone
(1995) Giuseppe Tornatore
Giuseppe Tornatore
(1996) Francesco Rosi
Francesco Rosi
(1997) Roberto Benigni
Roberto Benigni
(1998) Giuseppe Tornatore
Giuseppe Tornatore
(1999) Silvio Soldini (2000)

2001–present

Gabriele Muccino (2001) Ermanno Olmi
Ermanno Olmi
(2002) Pupi Avati
Pupi Avati
(2003) Marco Tullio Giordana (2004) Paolo Sorrentino
Paolo Sorrentino
(2005) Nanni Moretti
Nanni Moretti
(2006) Giuseppe Tornatore
Giuseppe Tornatore
(2007) Andrea Molaioli (2008) Matteo Garrone
Matteo Garrone
(2009) Marco Bellocchio
Marco Bellocchio
(2010) Daniele Luchetti (2011) Paolo and Vittorio Taviani
Paolo and Vittorio Taviani
(2012) Giuseppe Tornatore
Giuseppe Tornatore
(2013) Paolo Sorrentino
Paolo Sorrentino
(2014) Francesco Munzi (2015) Matteo Garrone
Matteo Garrone
(2016)

v t e

Nastro d'Argento Award for Best Director

Alessandro Blasetti / Vittorio De Sica
Vittorio De Sica
(1946) Roberto Rossellini
Roberto Rossellini
(1947) Alberto Lattuada
Alberto Lattuada
/ Giuseppe De Santis (1948) Vittorio De Sica
Vittorio De Sica
(1949) Augusto Genina
Augusto Genina
(1950) Alessandro Blasetti (1951) Renato Castellani
Renato Castellani
(1952) Luigi Zampa
Luigi Zampa
(1953) Federico Fellini
Federico Fellini
(1954) Federico Fellini
Federico Fellini
(1955) Michelangelo Antonioni
Michelangelo Antonioni
(1956) Pietro Germi (1957) Federico Fellini
Federico Fellini
(1958) Pietro Germi (1959) Roberto Rossellini
Roberto Rossellini
(1960) Luchino Visconti
Luchino Visconti
(1961) Michelangelo Antonioni
Michelangelo Antonioni
(1962) Nanni Loy
Nanni Loy
/ Francesco Rosi
Francesco Rosi
(1963) Federico Fellini
Federico Fellini
(1964) Pier Paolo Pasolini
Pier Paolo Pasolini
(1965) Antonio Pietrangeli
Antonio Pietrangeli
(1966) Gillo Pontecorvo
Gillo Pontecorvo
(1967) Elio Petri (1968) Franco Zeffirelli
Franco Zeffirelli
(1969) Luchino Visconti
Luchino Visconti
(1970) Elio Petri (1971) Luchino Visconti
Luchino Visconti
(1972) Bernardo Bertolucci
Bernardo Bertolucci
(1973) Federico Fellini
Federico Fellini
(1974) Luchino Visconti
Luchino Visconti
(1975) Michelangelo Antonioni
Michelangelo Antonioni
(1976) Valerio Zurlini (1977) Paolo and Vittorio Taviani
Paolo and Vittorio Taviani
(1978) Ermanno Olmi
Ermanno Olmi
(1979) Federico Fellini
Federico Fellini
(1980) Francesco Rosi
Francesco Rosi
(1981) Marco Ferreri
Marco Ferreri
(1982) Paolo and Vittorio Taviani
Paolo and Vittorio Taviani
(1983) Pupi Avati
Pupi Avati
/ Federico Fellini
Federico Fellini
(1984) Sergio Leone
Sergio Leone
(1985) Mario Monicelli
Mario Monicelli
(1986) Ettore Scola
Ettore Scola
(1987) Bernardo Bertolucci
Bernardo Bertolucci
(1988) Ermanno Olmi
Ermanno Olmi
(1989) Pupi Avati
Pupi Avati
(1990) Gianni Amelio
Gianni Amelio
(1991) Gabriele Salvatores
Gabriele Salvatores
(1992) Gianni Amelio
Gianni Amelio
(1993) Nanni Moretti
Nanni Moretti
(1994) Gianni Amelio
Gianni Amelio
(1995) Giuseppe Tornatore
Giuseppe Tornatore
(1996) Maurizio Nichetti (1997) Roberto Benigni
Roberto Benigni
(1998) Giuseppe Tornatore
Giuseppe Tornatore
(1999) Silvio Soldini (2000) Nanni Moretti
Nanni Moretti
(2001) Marco Bellocchio
Marco Bellocchio
(2002) Gabriele Salvatores
Gabriele Salvatores
(2003) Marco Tullio Giordana (2004) Gianni Amelio
Gianni Amelio
(2005) Michele Placido
Michele Placido
(2006) Giuseppe Tornatore
Giuseppe Tornatore
(2007) Paolo Virzì
Paolo Virzì
(2008) Paolo Sorrentino
Paolo Sorrentino
(2009) Paolo Virzì
Paolo Virzì
(2010) Nanni Moretti
Nanni Moretti
(2011) Paolo Sorrentino
Paolo Sorrentino
(2012) Giuseppe Tornatore
Giuseppe Tornatore
(2013) Paolo Virzì
Paolo Virzì
(2014) Paolo Sorrentino
Paolo Sorrentino
(2015) Paolo Virzì
Paolo Virzì
(2016)

v t e

National Society of Film Critics Award for Best Director

Michelangelo Antonioni
Michelangelo Antonioni
(1966) Ingmar Bergman
Ingmar Bergman
(1967) Ingmar Bergman
Ingmar Bergman
(1968) François Truffaut
François Truffaut
(1969) Ingmar Bergman
Ingmar Bergman
(1970) Bernardo Bertolucci
Bernardo Bertolucci
(1971) Luis Buñuel
Luis Buñuel
(1972) François Truffaut
François Truffaut
(1973) Francis Ford Coppola
Francis Ford Coppola
(1974) Robert Altman
Robert Altman
(1975) Martin Scorsese
Martin Scorsese
(1976) Luis Buñuel
Luis Buñuel
(1977) Terrence Malick
Terrence Malick
(1978) Woody Allen
Woody Allen
/ Robert Benton (1979) Martin Scorsese
Martin Scorsese
(1980) Louis Malle
Louis Malle
(1981) Steven Spielberg
Steven Spielberg
(1982) Paolo Taviani and Vittorio Taviani (1983) Robert Bresson (1984) John Huston
John Huston
(1985) David Lynch
David Lynch
(1986) John Boorman
John Boorman
(1987) Philip Kaufman
Philip Kaufman
(1988) Gus Van Sant
Gus Van Sant
(1989) Martin Scorsese
Martin Scorsese
(1990) David Cronenberg
David Cronenberg
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Quentin Tarantino
Quentin Tarantino
(1994) Mike Figgis
Mike Figgis
(1995) Lars von Trier
Lars von Trier
(1996) Curtis Hanson
Curtis Hanson
(1997) Steven Soderbergh
Steven Soderbergh
(1998) Mike Leigh
Mike Leigh
(1999) Steven Soderbergh
Steven Soderbergh
(2000) Robert Altman
Robert Altman
(2001) Roman Polanski
Roman Polanski
(2002) Clint Eastwood
Clint Eastwood
(2003) Zhang Yimou
Zhang Yimou
(2004) David Cronenberg
David Cronenberg
(2005) Paul Greengrass
Paul Greengrass
(2006) Paul Thomas Anderson
Paul Thomas Anderson
(2007) Mike Leigh
Mike Leigh
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) David Fincher
David Fincher
(2010) Terrence Malick
Terrence Malick
(2011) Michael Haneke
Michael Haneke
(2012) Joel Coen and Ethan Coen (2013) Richard Linklater
Richard Linklater
(2014) Todd Haynes
Todd Haynes
(2015) Barry Jenkins
Barry Jenkins
(2016) Greta Gerwig
Greta Gerwig
(2017)

Authority control

WorldCat Identities VIAF: 110291829 LCCN: n79106426 ISNI: 0000 0001 2147 5994 GND: 11864971X SELIBR: 234469 SUDOC: 026688530 BNF: cb11888966p (data) ULAN: 500261898 NLA: 36551307 NDL: 00511741 NKC: jn20000700064 ICCU: ITICCUCFIV17310 BNE: XX4578796 RKD: 203

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