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All Critics (14)
| Top Critics (4)
| Fresh (8)
| Rotten (6)
| DVD (2)
The most openly erotic of Antonioni's features, and visually one of the most beautiful.
A refreshing irony prevents the hardened art house pundit from wallowing in nostalgia and the metaphysics of 'portentous messages'.
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.
There's a very good reason this moody, atmospheric effort was never released in the United States until now -- it isn't very good.
Although I've seen Michelangelo Antonioni's Identification of a Woman twice, there are still a few things I'd like explained.
... a film filled with mysteries that are never resolved and images that are simultaneously lonely and lovely.
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.
If Antonioni ultimately fails he deserves full marks for setting out on this adventure.
...uneasy and difficult to pin down, like the paranoia of a dream.
Identification of a Woman is not an easy film, but it's a most welcome addition to Antonioni's canon.
A lugubrious story.
Arguably, "Identification of a Woman" is legendary director Michelangelo Antonioni's final essential film. It's not on the level of earlier masterpieces like "L'Avventura," "La Notte," "Blow-Up" and "The Passenger," but it has similar languid pacing. A troubled director believes the inspiration for his next movie will come from a woman's face, and he becomes particularly obsessed with a beautiful, younger gal named Mavi. He pursues her for awhile and -- somewhat reminiscent of "L'Avventura" -- eventually decides he was looking for something else instead. Typically, the movie is deliberately slow and lasts much longer than its slim plot demands. This padding would be easily tolerated except that most scenes take place indoors, so the imagery includes little of Antonioni's usual poetic landscapes. The film boasts a hip, synthetic soundtrack with various contemporary pop songs and a score by John Foxx (ex-Ultravox).
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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