Love and Loss in European and American Cinema

Love and Loss in European and American Cinema
Love and Loss in European and American Cinema

Cinema has the power to capture the beauty and complexity of human relationships, to make us feel deeply and empathize with characters from all walks of life. L’Eclisse, The Soft Skin, and The way we were are three films that explore the complexities of love and loss. In fact, L’Eclisse captures the beauty and alienation of modern urban life. Although Soft Skin delves into the consequences of infidelity. Thus, the Way We see the power of love to transcend boundaries. In this, we’ll talk about Love and Loss in European and American Cinema.

L’Eclisse (1962), Michelangelo Antonioni

A prosperous girl falls into the clutches of a selfish bastard. The third part of Antonioni’s famous trilogy about a departed feeling begins with the parting of the heroine Monica Vitti with a mature lover. After a long farewell in the landscapes of modernist Rome. The girl ends up on the stock exchange, where, unfortunately for herself. She meets her mother’s nimble broker (played by Alain Delon). While one expensive car takes the place of another one, and the heroes find solace in each other’s company. Gianni Di Venanzo’s camera will catch clouds, ponds, parks, and interiors – from time to time we will be captured by close-ups of the iconically beautiful Vitti and Delon. Certainly, a sad story about how cynicism and inattention to each other destroy the passion and break up into hundreds of phenomenal shots, each of which can be found in textbooks on the history of cinema. This is how they no longer fall in love and do not part.

The Soft Skin (1964), François Truffaut

Truffaut’s fourth film, a little lost among his other successes, must be watched to the end. A painful love triangle is waiting for an unexpected denouement. Sluggish intellectual Pierre, giving lectures and presentations of his books, lives a bourgeois life with a temperamental wife, habitual boredom, and constant business trips. On the plane, he meets the stewardess Nicole – attractive, free, and living outside of his usual conventions. They are very different, but they like each other. His profession attracts him and concurrently, Her way of thinking attracts him, looseness, and her ability to live for today. Truffaut wraps the banal story of adultery in hypnotic scenes of passing dialogues, chance meetings, and intimate communication. Where the reasons for today’s betrayals are easily guessed.

“The Way We Were”, Sydney Pollack, 1973

An unsuccessful half-life marriage looks like this: an assertive and lively girl with strong principles from a simple Jewish family meets the embodiment of the golden youth stereotype. Katie and Hubble’s rollercoaster romance of perfect dates and extended estrangement will last for many years. Though she’ll be sure there were simple times when they were both young. In fact, he remembers for sure: Their relationship never lacked simplicity. “The Meeting of Two Hearts” breaks down into perfect relationship quotes where too dissimilar partners cannot come to terms with each other’s differences and will stumble upon them in political choices, clothing, friendships, and vocations. We often entangle in unfortunate stories, expecting that people we like can change. Sydney Pollack’s melodrama without molasses and vain hopes is about a passion that interferes with life.

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