FindKey

FindKeyは、100万件を超える映画・ドラマ作品、そして数百万人の人物データと独自の16類型CTI診断を統合した、日本初の感情特化型映画レコメンドエンジンです。

Find (見つける) + Key (鍵・正解)

映画に限らず、人生のヒントを見つける場所です。

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19612h 2m★ 7.9ドラマロマンス

あらすじ

No synopsis available.

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作品考察・見どころ

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スタッフ・制作会社

監督: Michelangelo Antonioni

脚本: Michelangelo Antonioni / Ennio Flaiano / トニーノ・グエッラ

音楽: Giorgio Gaslini

制作: Emanuele Cassuto

撮影監督: Gianni Di Venanzo

制作会社: Nepi Film / Silver Films / Sofitedip

口コミ

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キャスト

マルチェロ・マストロヤンニ
マルチェロ・マストロヤンニ
Giovanni Pontano
Jeanne Moreau
Jeanne Moreau
Lidia
Monica Vitti
Monica Vitti
Valentina Gherardini
ベルンハルト・ヴィッキ
ベルンハルト・ヴィッキ
Tommaso Garani
Rosy Mazzacurati
Rosy Mazzacurati
Rosy
Maria Pia Luzi
Maria Pia Luzi
Un'invitata
No Image
Guido A. Marsan
Fanti
No Image
Vittorio Bertolini
No Image
Vincenzo Corbella
Mr. Gherardini
No Image
Ugo Fortunati
Cesarino

TMDB ユーザーのレビュー

CinemaSerf
CinemaSerf
★ 7

I have always thought Jeanne Moreau to be one of the most striking of actresses. He expressions with her smile and her eyes would have made her a fantastic silent film star. Here she portrays "Lidia", married to "Giovanni" (an equally potent Marcello Mastroianni), with whom she has a pretty open relationship in what is a rapidly deteriorating marriage. It's only after they visit a terminally ill friend "Garani" (Bernhard Wicki) that she becomes distraught, leaves the hospital and her thoughts start to focus a little. She visits the home of her youth, he goes to a party to celebrate the release of his latest tome then they both end up at a lavish soirée where they are as if independent of each other - both pretty shamelessly flirting with other, younger, people whilst maintaining just about enough of a façade to remember that this is all about business. Michelangelo Antonioni has created the ultimately crafted fly-on-the-wall film, here. The photography is intimate, almost invasive, at times as we watch these two people heading on a crash course to marital oblivion taking a great deal of themselves with them too. Though at times outwardly superficial, the characterisations are actually quite complex and both play with a subtle, nuanced charisma that compliments the more obvious symptoms of their declining interest in each other. What also adds a richness to this is a distinct paucity of dialogue. Giorgio Gaslini has provided us with a score that allows the photography to tell us great swathes of the story using imagery only - the lack of needless conversation between the characters helps it to showcase the ostentatiousness of their ball or the use of the Milanese city-scape in the darkness illuminated only by the occassional street-light - and that frequently creates a compelling atmosphere as sterile and barren as is their failing partnership. By the end, we know that something has to give, but what might that be? For two hours it just flies by. It's Golden Bear was well won.

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