Lightcube Films presents "Red Desert" film screening at Kiran Nadar Museum of Art, 145, DLF South Court Mall, Saket > 5pm on 13th September 2013

Time : 5:00 pm 

Duration : 117 min. 

Entry : Programme subject to change / For Registered Members only /  Registrations for the programme available for Rs 500/-
Contact:
lightcubefilmsociety@gmail.com | saumya.bhatt@shivnadarfoundation.org | lightcube.in | knma.in
7838340196 | 9654344455

Place : Kiran Nadar Museum of Art, 145, DLF South Court Mall, Saket, New Delhi -110017
011-49160000, 9312343005
Landmark : Behind Select Citywalk Mall
Venue Info : About | Map | Nearest Metro Station - 'Malviya Nagar (Yellow Line) Exit Gate - 3'
Area : Saket

Event Description : Lightcube Films presents 'Red Desert' film screening.
Michelangelo Antonioni's panoramas of contemporary alienation were decade-defining artistic events, and Red Desert, his first color film, is perhaps his most epochal. This provocative look at the spiritual desolation of the technological age - about a disaffected woman, brilliantly portrayed by Antonioni muse Monica Vitti, wandering through a bleak industrial landscape beset by power plants and environmental toxins, and tentatively flirting with her husband's coworker, played by Richard Harris - continues to keep viewers spellbound. With one startling, painterly composition after another, Red Desert creates a nearly apocalyptic image of its time, and confirms Antonioni as cinema's preeminent poet of the modern age.

Year : 1964

Director : Michelangelo Antonioni

Background : ‘Echo Chamber’, the film club collaboration between Kiran Nadar Museum of Art & Lightcube Film Society present,
THE MACHINE AGE
Cinema came into being in the late 19th century, its existence necessitated by a world on the verge of widespread and rampant automatisation, machinisation, equipment, industry and armament; and on the immediate consequences of these phenomena: surveillance, nuclear war, accidental footage, dehumanization, a loss of individual personality and late 20th century paranoia. The present film series will aim to study in detail the manner in which a machine relates to another machine; the manner in which the tracking shot (which is made possible again, by railway line like rails) contemplates the diagonals, assembly lines and general geometries of modern factories and also, how the cinematic form can re-humanize those whose vitality is drained by their professional occupation inside these industries.  

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