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For some, watching Michelangelo Antonioni’s “Alienation Trilogy” — L’Avventura (1960), La Notte (1961), and L’Eclisse (1962) — might not feel like a fun weekend activity. These films depict characters navigating a cold world full of Italian cities that feel almost futuristic, as the director emphasizes architecture, emotional sickness, and psychological detachment to create a commentary on the failures of interpersonal communications. But there are lessons to be learned, and a strange sense of visual rhythm
