His first color film, Red Desert, is yet another entry in his peak period's run of intense, stylistically profound variations on that signature theme. The film is set in a modern industrial zone, not an urban center but a desolate country harbor colonized by smoke-spewing factories, massive ships that d The landscape of the region is pancreatic cancer young female cold, foggy, smoke-filled wasteland, a bleak territory of small mud-puddle lakes with sleek black surfaces, chemicals glistening in multiple colors, green scum leaving behind a thick crust on the shore.
It's always overcast. There's always a thick fog hanging in the air, making everything fuzzy and gray.
The credits roll over a series of out-of-focus shots of pancreatic cancer young female region, of smokestacks and gray factory buildings and grim landscapes that nearly look post-apocalyptic in their indistinct desolation. The first in-focus shot, after the credits, is a closeup of a plume pancreatic cancer young female fire erupting from a factory smokestack.
The symbolism could not be more obvious: this is Hell, a strange Hell where the air is cold and the only heat comes from the factories' never-ending industrial processes, from the burning of chemicals Antonioni carefully calibrates every aspect of the film so that each image becomes an pancreatic cancer young female of the characters' isolation, and the weight of the world that they feel so acutely.
The scenery is almost studiously bland and gray, sometimes literally, as when Giuliana sees a fruit vendor whose wares are all painted gray, as though covered in a layer of ash. In Corrado's hotel, the whole lobby is a clean, clinical white, even the plants, their white stalks emerging from white soil and white pots.
Antonioni has crafted a precise and deeply affecting portrait of the destruction of the human soul in the metal jaws of industry — and the nature of the continuing psychological and physical struggle against the oppressive environs we've created for ourselves as a society.