TY  - ADVS
AU  - Antonioni,Michelangelo
AU  - Bartoleschi,Valerio
AU  - Carboni,Emanuela Paola
AU  - Cervi,Tonino
AU  - Chionetti,Carlo
AU  - Grotti,Aldo
AU  - Guerra,Tonino
AU  - Harris,Richard
AU  - Renoir,Rita
AU  - Rheims,Lili
AU  - Valderi,Xenia
AU  - Vitti,Monica
ED  - Criterion Collection (Firm)
ED  - Film Duemila.
ED  - Franco Riz (Firm)
ED  - Janus Films.
TI  - Il deserto rosso
T2  - The Criterion collection
SN  - 1604652764
PY  - 2010///
CY  - [Irvington, NY]
PB  - Criterion Collection
KW  - Adultery
KW  - Drama
KW  - Alienation (Social psychology)
KW  - Existentialism
KW  - Industrialization
KW  - Psychological aspects
KW  - Man-woman relationships
KW  - Married women
KW  - Psychology
KW  - Women
KW  - Conduct of life
KW  - Ravenna (Italy)
KW  - Social conditions
KW  - 20th century
KW  - Feature films
KW  - lcgft
KW  - Fiction films
KW  - Video recordings for the hearing impaired
N1  - Originally produced as an Italian/French motion picture in 1964; Strike -- Need for workers -- Still not well -- Giuliana's shop -- Fears -- Medicina -- Beliefs -- Shack -- Cry -- Mistakes -- Home -- Plans for Patagonia -- Valerio -- Story about a girl -- Giuliana and Ugo -- Readjusted -- Separate -- Yellow smoke -- Color bars; Direttore della fotografia [= director of photography], Carlo Di Palma; montaggio [= editing], Eraldo Da Roma ; musica, Giovanni Fusco ; cantata da [= sung by] Cecilia Fusco ; diretta da [= music directed by] Carlo Savina ; musica elettronica da composizioni di [= electronic music composed by], Vittorio Gelmetti ; scenografia [= production design], Piero Poletto ; costumista [= costumes], Gitt Magrini; Monica Vitti, Richard Harris, Carlo Chionetti, Xenia Valderi, Rita Renoir, Lili Rheims, Aldo Grotti, Valerio Bartoleschi, Emanuela Paola Carboni
N2  - Guiliana is the wife of Ugo, a plant manager in Ravenna. Recently released from the hospital after a car accident, Giuliana is in dire straits mentally, but Ugo thinks she's just hysterical. When she meets the charming Corrado, he seems sympathetic, shares her feeling of being lost, but he doesn't fully understand and his amatory advances are not what she needs. Living in the shadow of industry, surrounded by the blighted landscape of the mechanized wasteland, Guiliana faces the full horror of existential doubt alone, and modernist culture offers her no solace, comfort, or concrete prescription to alleviate her anguish
ER  -