By Mónica Delgado

In The Night (La Notte, 1961), Michelangelo Antonioni proposes the progressive rupture of the relationship in a bourgeois marriage (a writer, and a writer’s wife). However, on the symbolic level, the filmmaker establishes in advance, the sexual desire imaginary of Lidia (Jeanne Moreau) facing her husband’s disinterest. Hence, The Night is not a film about a couple in crisis, but about the gaze of a woman on this crisis.