Ennui and eroticism make an oddly alluring combo in Michelangelo Antonioni's La Notte.

For Antonioni, beginnings and endings aren't plot points on a narrative graph; they resonate everywhere, entwined and inseparable.

The romantic conflicts of an intellectual couple in bourgeois Milan come to life in a visually dazzling yet psychologically dislocating pageant of clashing architectural styles.

La Notte might not be the most cinematic of Antonioni's. But with older, knowing protagonists, it is a lot more impactful & sadder than L'eclisse. The last scene, as the unhappy couple trying to have sex is perhaps the saddest movie ending ever.