Robert Khoeler, "Great Wide Open", Sight & Sound, August 2011, pp. 44-46:
"What makes L'avventura the greatest of all films, however, is its assertion, exploration and expansion of the concept of the «open film». (...) His early documentaries as The People of the Po (...), and his earliest narrative films, such as the astonishing Story of a Love Affair (...), suggest an artist pulling against what he perceived as the constraints of neorealism towards an openess based on a heightened perception of constant change - a dynamic that was for him the fundamental quality of the post-war world.
(...)
In L'avventura, more than any film before it had ever dared, the centre will not hold. The open film is a fluid thing, pulsating, forever changing, shifting from one centre to another, not quite beginning and not quite ending (or at least beginning something new in its «ending»). Anna, the centre, vanishes, with no visual or verbal clues to trace her by, except rumours of sightings. She was in effect the glue that held the party together, having helped bring Claudia in closer to her circle of friends - and to Sandro. But with Anna's disappearance, the film alters shape in front of us; a sudden absence actually expands the film's eye. Individual shots become more extended and prolonged, the sky and land grow larger, the elements become more tangible (clouds, rain, harsher sun).
What's even more disturbing is that nothing happens - no discovery, no evidence, no detective work, finally, no memory. L'avventura is, in part, the story of how a woman is forgotten. (...)
(...)
But L'avventura marks a new kind of film, not made before, in which the story that launched the film dissolves and gives way to something else - a journey? a wandering? - that points to a host of possible readings beyond what mere narrative allows (...)".
(...)
In L'avventura, more than any film before it had ever dared, the centre will not hold. The open film is a fluid thing, pulsating, forever changing, shifting from one centre to another, not quite beginning and not quite ending (or at least beginning something new in its «ending»). Anna, the centre, vanishes, with no visual or verbal clues to trace her by, except rumours of sightings. She was in effect the glue that held the party together, having helped bring Claudia in closer to her circle of friends - and to Sandro. But with Anna's disappearance, the film alters shape in front of us; a sudden absence actually expands the film's eye. Individual shots become more extended and prolonged, the sky and land grow larger, the elements become more tangible (clouds, rain, harsher sun).
What's even more disturbing is that nothing happens - no discovery, no evidence, no detective work, finally, no memory. L'avventura is, in part, the story of how a woman is forgotten. (...)
(...)
But L'avventura marks a new kind of film, not made before, in which the story that launched the film dissolves and gives way to something else - a journey? a wandering? - that points to a host of possible readings beyond what mere narrative allows (...)".
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