In an industrializing Italian town, a married woman, rendered mentally unstable after a traffic accident, drifts into an affair with a friend of her husband.
Instead, it has more in common with works about subtle human emotion that just happen to pay extremely close attention to their built environments: films like Luca Guadagnino’s 2002 I Am Love, which gazed upon Milan’s Villa Necchi Campiglio ; Antonioni’s industrial love letter Red Desert (1965); or Brian de Palma’s Body Double (1984).
Michalangelo Antonioni's first color film, The Red Desert (1964), could be called a film for persons who found The Passenger too straightforward and cheery.
There is none of the disquiet between the instinctive and the ideological halves of a slumbrous man in arcane agony which made his “Eclipse” and “Red Desert” seem the struggles of a dozing patient to kick the sheets about in a long, long night.