ingmar bergman, 89
michelangelo antonioni, 94
full stories found (at least) at The New York Times
i have seen only a few of the masterful films of these two filmmakers. i did not, as The New York Times stories suggest has been the case with many viewers, always see their films as coherent or abundantly clear, but then i tend to enjoy ambiguity in film; in many ways it's what allows us to discuss -- sometimes over coffee and cigarettes (please forgive the cliche) -- just what is going on in, sayWild Strawberries or L'Avventura, both of which i found confounding but also brilliant in many ways. L'Avventura was initially booed and hissed at Cannes, but as Gary Morris explains in an Images article, "[f]ortunately, a small band of critics recognized the film’s ravishing pictorialism in the service of a vision of modern life as a quiet hell of ennui." "a quiet hell of ennui"(QHOE, which i'm going to normalize within my discourse). that 's good. and it's applicable, as i recall the film. and it's true that i a shared a vision of these characters (on the island) as "shallow," i admit that i sensed, at times, greatness, especially in its bleak pictorialism, which so clearly reflected that QHOE.
i imagine lots of Berman and Antonioni will be appearing on TNN, IFC, Sundance Channel, and so on. i plan to wallow in the various takes on homage.