Hello, my name's Jocelyn Cluor. I'm here today with Will Sloan.

And you're listening to the Important Cinema Club. And today, things may get a little bit angsty, maybe a little bit lonely, maybe a little bit slow. Yes, that's right. We're talking about Antonioni.

Michelangelo Antonioni.

Michelangelo Antonioni. My God, what an introduction for one of the Titans of World Cinema, one of the most important filmmakers of his era, already showing him all the proper

respect. One of the filmmakers that when you get into film school, the person goes,

ugh, I don't like that guy, because I'm cool. Well, it's hard to like Antonioni when you are 18 years old in film school.

I know that because I myself, you know, saw LaVanchura when I was, I think, 19 or so.

Didn't really get it.

But over time, and especially lately, I've definitely come to love Antonioni.

I think he's a tricky filmmaker

to articulate the virtues of, because there's a lot to appreciate in these movies intellectually,

of course, but I think what I really get from them is this overwhelmingly powerful vibe.

Oh, I completely agree with you, because the characters in the films, that's what they're

experiencing themselves as well. I would say it's the opposite for me because I saw Red Desert first,

and I loved it. I'm like, this is what I like. This is misery, beautiful looking, a character

just kind of wandering through these toxic landscapes, the emotions and thematic material I could

grasp onto very easily, which I don't know if it would have happened if I would have seen,

for example, the eclipse first, because maybe I would have had a little bit more difficulty,

but because Red Desert is just right there in your face, all of his thematics are in beautiful, ugly colors.

I could latch on very easily. And since then, whenever I watched one of his movies, I'm like,

oh yeah, I get it. Even though he's not a filmmaker, I like spin to, you know, have a fun time

and decompress. Well, last week when we were talking about Vilmo Zygman,

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