The Scream is a transitional film, not only in Antonioni's work but also in Italian and world cinema itself. The director's next film would be L'aventura (1960), where a new cinematographic language would debut in the author's work.
Like other directors of his generation, Antonioni starts with a more conventional language, passing through neo-realism before embracing the nouvelle vague (Italian version) and becoming one of the most important authors of the new Italian and world cinema.
The Scream is precisely the film that anticipates change and even symbolizes it. In a way, that rejected man who unsuccessfully seeks to rebuild his life, to the point of fatal destruction, is a symbol of the director's creative process, in the construction of a new cinematographic language on the remains of neo-realism, which no longer responded to the desires of the new generation, eager to build progress and forget the hardships of war.
And yet this Scream is a beautiful film. A work where, in a bare setting still populated by the debris of war, both material and human, one already glimpses an existential absurdity that would mark the cinema of the following decade.
An evolution that would link the two most beautiful and creative periods of Italian cinema. Its golden period.
Like other directors of his generation, Antonioni starts with a more conventional language, passing through neo-realism before embracing the nouvelle vague (Italian version) and becoming one of the most important authors of the new Italian and world cinema.
The Scream is precisely the film that anticipates change and even symbolizes it. In a way, that rejected man who unsuccessfully seeks to rebuild his life, to the point of fatal destruction, is a symbol of the director's creative process, in the construction of a new cinematographic language on the remains of neo-realism, which no longer responded to the desires of the new generation, eager to build progress and forget the hardships of war.
And yet this Scream is a beautiful film. A work where, in a bare setting still populated by the debris of war, both material and human, one already glimpses an existential absurdity that would mark the cinema of the following decade.
An evolution that would link the two most beautiful and creative periods of Italian cinema. Its golden period.