1955 • 106 minutes • 1.37:1 • Italy
Spine: #817 Editions: DVD, Blu-Ray, iTunes
This major early achievement by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous.
1966 • 111 minutes • 1.85:1 • United Kingdom
Spine: #865 Editions: DVD, Blu-Ray
A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park.
Celebrate the fiftieth anniversary of this world-renowned distribution company with Essential Art House: 50 Years of Janus Films, an expansive collectors’ box set featuring fifty classic films on DVD and a lavishly illustrated hardcover book.
1982 • 130 minutes • 1.85:1 • Italy
Spine: #585 Editions: DVD, Blu-Ray
Michelangelo Antonioni’s Identification of a Woman is a body- and soul-baring voyage into one man’s artistic and erotic consciousness.
1960 • 143 minutes • 1.77:1 • Italy
Spine: #98 Editions: DVD, Blu-Ray, Collector’s Sets, iTunes
Michelangelo Antonioni invented a new film grammar with this masterwork.
1962 • 126 minutes • 1.85:1 • Italy
Spine: #278 Editions: Dual Format Blu-ray/DVD, iTunes
The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise, L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon).
1961 • 122 minutes • 1.85:1 • Italy
Spine: #678 Editions: DVD, Blu-Ray, iTunes
Marcello Mastroianni and Jeanne Moreau star as a novelist and his frustrated wife, who, over the course of one night, confront their alienation from each other and the achingly empty bourgeois Milan circles in which they travel.
1964 • 117 minutes • 1.85:1 • Italy
Spine: #522 Editions: DVD, Blu-Ray
Michelangelo Antonioni’s 1960s panoramas of contemporary alienation were decade-defining artistic events. Red Desert, his first color film, is perhaps his most epochal, and confirms Antonioni as cinema’s preeminent poet of the modern age.