1. Antonioni's roots were in neorealism, but he soon deserted this style for a highly polished and stylized drama of personal sensations.
2. Antonioni blurred objective reality and buried the action within the subjective perceptions of the central character.
3. His method involves concentrating as much on the scenic environment as the people in it.
4. His use of modern architecture are metaphors for the hollowness a character feels at a particular dramatic moment.
5. His characters feel an affinity for white walls which his they go to emphasizing that they are trapped or wall-bound.
6. He trusts visuals over words. Words can be misleading and in Antonioni's world, the characters mostly learn through encounters with the physical world.
L'Eclisse is even less accessible than the others. A woman (Monica Vitti) has one relationship end and quickly gets involved with a player on the stock market (Alain Delon). The wildness, unpredictability and mass of people yelling during of the stock market scenes is nicely contrasted with the scenes with the two potential lovers on the street, where they seem like the only people in the world. My first thought was that why didn't Antonioni hire more extras, but I think he might be making a point about isolation and loneliness here. L'Eclisse is as bright as La Notte is dark, but does anything get resolved? And what about that ending? I can't say I loved sitting through L'Eclisse, but the more I think about it, I may want to watch it again someday...just not today.
...And I've come full circle with the all the Antonioni films on the 1001 list. I do like going through some of these director's work watching several pf them back to back. I've still got enough on the list to do this a few more times with other directors, and maybe add some additional films from their respective works.