Michelangelo Antonioni-Identificazione di una donna (1982)

The movie director Niccolo has just been left by his wife. This gives him the idea of making a movie about womens relationships. He starts to search for a woman who can play the leading part in the movie - but also in his own life… (http://imdb.com/title/tt0084116/plotsummary)




With its sense of alienation, detachment and incommunicability and its strong emphasis on the female characters, this film was welcomed by many Antonioni aficionados as something of a return to form. (-DVD cover)




''Identification of a Woman'' is an excrutiatingly empty work. It's also beautiful and sad - virtually a parody of the director's great ''L'Avventura'' and some of his other earlier films.
(The New York Times)




This film is the quintessential recapitulation of the Antonioni look, of the Antonioni themes, and the existential isolation of Antonioni characters, wandering aimlessly in a search for connection.




Identification of a Woman comes closer to classic Antonioni. Tomas Milian stars as Niccolo, a film director searching for the perfect actress for his next film. He begins relationships with two women and can't seem to find a handle on what he's looking for. The film abounds with physical manifestations of this confusion, from Niccolo setting the alarm off in his own apartment in the film's opening scene, to the stunning sequence where Niccolo and Mavi (Daniela Silverio) drive through the fog. They argue and she gets out of the car, but Niccolo can't find her again. One amazing shot has a giant truck suddenly emerging from the fog like a ghost.




Antonioni shows plenty of sex scenes between Niccolo and his girlfriend of the moment, but they're purposely done to look stylish and cold, rather than hot and sweaty. Niccolo is not the warmest and friendliest of protagonists; part of the reason he can't find what he needs is that he's so closed up and abrasive, which also makes him interesting. Identification of a Woman is not an easy film, but it's a most welcome addition to Antonioni's canon.









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