安东尼奥尼似乎以他每一部电影揭示了新的可能性。
Antonioni seemed to open up new possibilities with every movie.
他受安东尼奥尼的《放大》影响很大，以至于1974年决定去英国，像电影中的男主角一样，做个时尚摄影师。
He was so affected by Michelangelo Antonioni's "Blow-Up" that in 1974 he decided to move to England, in order to become a fashion photographer, like the hero of the movie.
从上到下，360度的景色都是那么完美。开着我们最中意的法拉利，放着安东尼奥尼的电影，车窗外的视野令人无比惬意，随便开到哪里都好。
The 360-degree view with the top down was so perfect, so reminiscent of driving scenes in our favorite Fellini and Antonioni movies, we simply followed the road wherever it went.
安东尼奥尼拍摄的唯一一部美国电影，一部关于1960年代晚期的无调性幻想曲。
Michelangelo Antonioni's only American film, an atonal fantasia on the late 1960s.
安东尼奥尼拍摄的唯一一部美国电影，一部关于1960年代晚期的无调性幻想曲。
Michelangelo Antonioni's only American film, an atonal fantasia on the late 1960s.
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