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Monica Vitti no filme "L' Avventura" (1960), de Michelangelo Antonioni

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“Michelangelo Antonioni was a cinematic cubist. Fragmenting time and space, the Italian master created a potent new language for storytelling, and in the process charted a topography of modern ennui. His work’s glamorously broody visual surfaces might have been mimicked in perfume commercials — they were hardly the only artistic invention to be co-opted by advertising — but no one has quite duplicated the way he built poetic depth from narrative shards. However exquisitely his characters suffer, their search for meaning is real.”

Sheri Linden (sobre o filme ‘La Notte’), Los Angeles Times, 2016

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Anna Karina em "Pierrot Le Fou" (1965), de Jean-Luc Godard

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Thérèse Diot em "La Noire de..." (1966), de Ousmane Sembène (1923-2007)

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Tilda Swinton (com Isaach de Bankolé), cena do filme "Os Limites do Controle" (2009), de Jim Jarmusch

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Tilda Swinton, "Os Limites do Controle" (2009), de Jim Jarmusch

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"A Woman Under the Influence (1974), de John Cassavetes

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'By the late ‘60s and the early ‘70s, if you were young, ambitious, and talented, there was no better place on earth to be than Hollywood. The buzz around movies attracted the best and the brightest of the boomers to the film schools. Everybody wanted to get in the act.'

Easy Riders, Raging Bulls (Introduction), Peter Biskind, 1999

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Robert de Niro e Cybill Shepherd em Taxi Driver (1976), de Martin Scorsese

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"O Livro de imagem" (2018), Jean-Luc Godard

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Anna Karina em "Vivre sa Vie" (1962) de Jean-Luc Godard

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Anna Karina em "Pierrot Le Fou" (1965), de Jean-Luc Godard

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"La Dolce Vita (1960), de Federico Fellini (capa da Criterio Collection)

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"Wanda" (1970), de Barbara Loden

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'The Bitter Tears of Petra von Kant', de Rainer Werner Fassbinder, 1972

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'Cinema, once heralded as the art of the 20th century, seems now, as the century closes numerically, to be a decadent art. Perhaps it is not cinema that has ended but only cinephilia – the name of the very specific kind of love that cinema inspired. Each art breeds its fanatics. The love that cinema inspired, however, was special. It was born of the conviction that cinema was an art unlike any other: quintessentially modern; distinctively accessible; poetic and mysterious and erotic and moral – all at the same time. Cinema had apostles. (It was like religion.) Cinema was a crusade. For cinephiles, the movies encapsulated everything. Cinema was both the book of art and the book of life.' "The Decay of Cinema" (Century of Cinema) / O2 Susan Sontag, The New York Times, 25.2.1996

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Monica Vitti, "Il Deserto Rosso" — M. Antonioni, 1964