In the beginning was Fellini’s La Dolce Vita, pleached and Proustian, released in February 1960. This was followed soon after, at Cannes in May 1960, by Antonioni’s L’Avventura, which invented slow cinema by taking a Hitchcock premise through a maze with no end. In June the following year, Last Year in Marienbad was released, in which Alain Resnais and Alain Robbe-Grillet entered the very cauldron where time and experience are formed out of stillness and silence.
Already a subscriber? Log in
Subscribe for just $2 a week
Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.
- Unlimited access to spectator.com.au and app
- The weekly edition on the Spectator Australia app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Or
Unlock this article
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in