A divorced middle-aged Italian film director (Tomas Millian) is seeking meaning and love in both his life and his film. He becomes involved with an aristocratic woman, but trouble ensues when he begins to receive anonymous threats demanding that he abandon the relationship. When the woman mysteriously disappears, the director begins seeing an actress who works in experimental plays. She too leaves after telling him that she is carrying another man's child. In his quest for meaning, all the
director manages to find is meaningless sex and lots of metaphors for isolation and abandonment: fog, open doors, empty landscapes. ~ John Voorhees, Rovi
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.
Traversing the frayed cinema of Michelangelo Antonioni can be a confounding and immersive experience, and his late-period melodramatic oddity Identification of a Woman is a perfect example why.
Antonioni's autumnal ruminating, frank about the role of sex in relationships yet now playful and relaxed in mellow acknowledgement of career-long themes
This is a respectable return by Antonioni to familiar thematic ground -- the impossibility of maintaining relationships in the contemporary world -- helped by a fine ironic underpinning and smoothly assured visuals.
A very beautiful film with that special Antonioni atmosphere. I can identify with the feeling of emptiness and the people who can´t really communicate with each other. Modern life and adulthood seems shallow and a bit soulless. You have to fill it with something and make it human again.The first time I saw it I was
disapointed but it improved greatly with the second viewing and I want to see it again. There are new things to discover each time as with all of Antonionis´ films.
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