Abstract

The collaboration between Michelangelo Antonioni and Monica Vitti shaped the beginning of a new cinematographic trajectory, marked by the modern style. The director became a great auteur, the actress imposed herself as a diva. But a simplistic reading in terms of pygmalionism cannot explain the formal complexity of what looks like a reciprocal co-creation, conducted through the language of the gaze and spread over the borders of cinema, in a paradoxical dimension which invokes also memories and words (and, eventually, their absence).