Jeanne Moreau consistently impresses me; her expressions, particularly her smile and eyes, suggest she would have been exceptional in silent films. Here, she embodies "Lidia," who is married to “Giovanni” (played with equal force by Marcello Mastroianni), and their marriage involves a notably open dynamic that’s clearly falling apart. It's following a visit to their dying friend, "Garani" (Bernhard Wicki), that Lidia visibly distresses, departs the hospital, and her thoughts begin to shift. She revisits her childhood home while Giovanni attends a celebration for his new book; eventually, they both find themselves at an extravagant party where they seem detached from one another – engaging in fairly blatant flirtations with younger individuals, yet maintaining just enough pretense to acknowledge that this is all transactional. Michelangelo Antonioni has delivered a meticulously observed film, and the cinematography feels very personal, even intrusive, as we witness these two people hurtling toward the end of their marriage, losing pieces of themselves along the way. While it might appear shallow on the surface, the characters are actually quite intricate, and both actors bring a subtle charisma that highlights the obvious decline in their connection. The film’s richness is also enhanced by the limited dialogue. Giorgio Gaslini's score allows the visuals to carry much of the narrative weight—the absence of superfluous conversation emphasizes the extravagance of the gatherings or uses the Milanese cityscape at night, lit only sporadically by streetlights—and this frequently establishes a captivating atmosphere as emotionally empty as their deteriorating relationship. As the film concludes, it’s clear that something must change, but what form that change will take remains unclear. The two hours pass quickly; the Golden Bear was certainly deserved.

Source on TMDB