The director (John Malkovich) is flying to Italy following the conclusion of his latest film. On the airplane, as he looks out beyond the clouds, he begins to think about his next film and the art of filmmaking. Upon landing, he drives through the night through thick fog, with people appearing and disappearing like apparitions.
Antonioni's final feature film is a sprawling, trawling, rambling mess. More soporific than engaging. More distracted than visionary. A collection of several thinly-realized stories that never add up to much beyond a yawn, patched together by elusive memories and the pall of awkward sex. Like IDENTIFICATION OF A WOMAN (1982), and 8 (1963) before that, the story follows an artist searching for inspiration for his next movie. He wanders aimlessly around an Italian city hunting for his feminine muse, mumbling in stilted philosophical voiceover that feels about as intangible as the clouds.
But what's the point of \"Beyond the Clouds\" Why tell your audience that it's more important to go beyond themselves than it is to be better as themselves Majidi is clearly drawing on the artistic tradition of Italian neo-realist films like \"Bicycle Thieves,\" \"Umberto D,\" and \"Rome, Open City,\" but shows no signs that he made it through to the end of the best of those movies. Spoiler alert: people remain homeless, hungry, and sad at the end of them! They don't get to transcend their circumstances because that, to put it mildly, would be a cop-out. 59ce067264