Connianatu How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Mandeep Tyson The acting in this movie is really good.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

blanche-2 This is the last of Antonioni's Incomunicability trilogy that began with "La Notte," "Avventura," "La Notte," and finally "L'Ecclisse," (The eclipse).Normally I have a problem with this kind of film. They move slowly, seem to be style over substance, and pretentious. "L'Ecclisse" is an exception in that it really is saying something.Knowing Antonioni's point of view gives some insight as to what's behind "L'Ecclisse." We cannot make a real connection with another person due to too much technology. We cannot connect any longer to the natural world and are doomed to be out of tune with it now. The beginning of this film is almost completely free of dialogue. Vittoria (Monica Vitti) and her fiancée, Riccardo, have been up all night discussing their relationship. She no longer loves him, but she can't tell him why.Vittoria visits her mother, who hangs out most days at the stock exchange in Rome. There she meets her mother's stockbroker, Piero (Alain Delon), a handsome, ambitious young man. They are attracted to one another, though he wants to act on it and she resists. Eventually she gives in. They are opposites. She is quiet, mysterious, and confused; he is part of the modern world, talkative, ambitious, and busy.Images are important -- images of modern life, new buildings, the Stock exchange, and primitive images, Vitti's dance, the dead plant. It all culminates in the final sequence. L'Eclisse is unlike a typical film in its emphasis on the discontentedness of modern life and its nontraditional approach. It may be hard to adjust to. But if you can, it's well worth it.

ags123 In this, his third film about the boredom and alienation of modern society, Antonioni reaches new heights in boring and alienating his audience. While Monica Vitti is indeed a beautiful and charismatic screen presence, watching her wander aimlessly for over two hours quickly loses its appeal (Though I'll take it over watching Jeanne Moreau wander aimlessly for over two hours in "La Notte"). Occasional sparks of interest go nowhere, as in her quest to find the lost dog. The "African" sequence is far more shocking today than it was half a century ago, seeing how it flies in the face of today's overbearing political correctness. None of these episodes amount to much; we already get where Antonioni is going from the opening sequence in which the two lovers are monosyllabically calling it quits. If you enjoy watching paint dry and then analyzing a blank canvas, this film will provide lots of fodder.

zachswee Incredible movie, totally surprised me. I wasn't prepared for it. About isolation, and not communicating, and feeling alone and lost. Beautiful to look at, and the ending was brilliant, I've never seen an ending as bold as that.I thought the acting was really great, especially the expressions of the lead actress, and the scenes in the stock exchange were very interesting too. Everything in this movie fits in with the themes of not communicating and feeling alone even though you're among people. Really great movie.I recommend you also watch the commentary by Martin Scorsese about this film. He has a lot to add about the themes and the mis-en-scene.

Magenta_Bob A haunting, intangibly profound film where nothing happens and Monica Vitti is leaning against things; make no mistake, it's another Michelangelo Antonioni. The first ten minutes were very good, the last ten incredible. Stunning cinematography as to be expected. I'm not sure if I saw the purpose of these long stock exchange segments - something about materialism and maybe the emptiness of it (e.g. that thing about the money people lost in the crash essentially just disappearing) I suppose.There was this great line by Vitti, something like "I wish I didn't love you or that I loved you more" which was Antonioni at his finest.