Your three previous films, L’avventura, La notte, The Eclipse gave, the impression of developing out of one another and standing along the same line of inquiry. And now you seem to have reached a new destination with Red Desert. For the ‘woman in the film, perhaps, it is a desert but for you, it is something fuller; more complete: it’s a film about the whole world and not just about the world of today.
For the moment, it’s very hard for me to talk about Red Desert. It’s too recent a film. I’m still too close to the “intentions” that drove me to make it; I don’t have the clarity of thought and the detachment necessary to judge it correctly. Still, I think I can say that this time I haven’t made a film about feelings. The results that I had obtained from my previous films – good or bad as they may be – have by now become obsolete. The question is completely different. At one time, I was interested in the relationships of characters to one another. Now, instead, the main character must confront her social environment, and that’s why I treat the story in a completely different way.
It’s too simplistic to say – as many people have done – that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. My intention – and I realize that one always knows where one starts off, but very rarely where one is going to – my intention was to translate the poetry of that world, in which even factories can be beautiful. The lines and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. It is a rich world, alive and serviceable. Continue reading