Michelangelo Antonioni Net Worth

Michelangelo Antonioni Net Worth is
$14 Million

Michelangelo Antonioni Bio/Wiki, Net Worth, Married 2018

Michelangelo Antonioni, Cavaliere di Gran Croce OMRI (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents"—L'Avventura (1960), La Notte (1961), and L'Eclisse (1962)—Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and story. His films defined a "cinema of possibilities".Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995.

Full Name	Michelangelo
Date Of Birth	September 29, 1912, Ferrara, Italy
Died	July 30, 2007, Rome, Italy
Place Of Birth	Ferrara, Emilia-Romagna, Italy
Height	5' 10" (1.78 m)
Weight	235.9 kg
Profession	Writer, Director, Editor
Education	Centro Sperimentale di Cinematografia, University of Bologna
Nationality	Italian, Italian
Spouse	Enrica Antonioni (m. 1986–2007), Letizia Balboni (m. 1942–1954)
Parents	Francesca di Neri del Miniato di Siena, Ludovico di Leonardo di Buonarotto Simoni, Ismaele Antonioni, Elisabetta Antonioni
Siblings	Leonardo Buonarroti Simoni, Gismondo Buonarroti Simoni, Buonarroto Buonarroti Simoni, Giovan Simone Buonarroti Simoni
Partner	Monica Vitti
Awards	Palme d'Or, Golden Lion, Academy Honorary Award
Nominations	Academy Award for Best Director, Academy Award for Best Original Screenplay, Grand Jury Prize, BAFTA Award for Best Film, BAFTA Award for Best British Film, Academy Award for Best Director, Academy Award for Best Original Screenplay, Grand Jury Prize, BAFTA Award for Best Film, BAFTA Award for Best ...
Movies	Blowup, L'Avventura, L'Eclisse, The Night, Red Desert, The Passenger, Zabriskie Point, Il Grido, Le Amiche, Beyond the Clouds, Story of a Love Affair, Identification of a Woman, Chung Kuo, Cina, The Lady Without Camelias, The Mystery of Oberwald, I Vinti, Love in the City, People of the Po Valley, M...
Star Sign	Libra

#	Trademark
1	Expressing alienation visually
2	Characters who suffer from ennui
3	Frequently deals with incommunicability
4	Meditation on the spiritual cost of modernity
5	Moving figurative compositions
6	His films frequently starred Monica Vitti or other statuesque actresses
7	Frequently his films are centered around an attractive, damaged (and often adulterous) man and woman who go on a talky journey together which ends ambiguously yet grimly.

#	Quote
1	[1985 interview] I thought that Fellini's latest film, And the Ship Sails On (1983) was absolutely splendid. It's the work of a director who knows what he wants and how to achieve it on film. Apparently, nothing extraordinary happens on board that ship; after all, nothing really unusual can happen on a ship. In the space of a few days the passengers get to know each other. And yet, of course, there are all sorts of things going on - from individual existential crises to conflict between social classes to political conspiracies to war. In that film you see all life represented; it caught my attention right from the beginning. It's a very perceptive work, conducted with great intelligence and "discretion," without any of the pompousness that Fellini doesn't always manage to avoid. You feel that the filmmaker is looking at the world with a great deal of respect. After 8½ (1963), it's my favourite film by Fellini.
2	Whenever I make a film I have a confusion in the pit of my stomach, a sort of tumor I cure by making the film. If I forget that tumor, I lie. It is easy to forget, even if I subconsciously realize I am forgetting. Very easy. Suppose I have to film a character coming down those stairs. I want to focus on his face because his expression while seeing a second character is very important in this moment. So I make him come down, but then my fancy is caught by that Lichtenstein. I like that, too. So I make the character stand for a moment before the Lichtenstein, with its glowing greens and whites. I like that. I'm tempted by it, but it is a mistake. It means making the painting important at the very moment that the only important thing is the character.
3	[on Professione: reporter (1975)] It was difficult working with Jack Nicholson and Maria Schneider at the same time because they are such completely different actors. They are natural in opposite ways: Nicholson knows where the camera is and acts accordingly. But Maria doesn't know where the camera is - she doesn't know anything; she just lives the scene. Which is great. Sometimes she just moves and no one knows how to follow her. She has a gift for improvising, and I like that - I like to improvise.
4	I have to admit that I have no method of creating [the story for my] films; a film simply occurs to me. Il Grido (1957) occurred to me while I was looking at a wall, L'Avventura (1960) while I was on board a yacht, heading toward an island in the Mediterranean. A girl that I knew, a friend of my wife's, had disappeared. A thorough search was conducted but they found nothing. She had just disappeared. The idea for the film came to me all of a sudden while we were sailing toward that island. I said to myself, "What if that girl was on the island?" That's how I thought of the story for L'Avventura. At first the film was called The Island. In short, there is no fixed method. In 1962, I was in Florence filming a solar eclipse. There was a silence different from all other silences, an ashen light, and then darkness - total stillness. I thought that during an eclipse even our feelings stop. Out of this came part of the idea for L'Eclisse (1962).
5	[on the ending of L'Avventura (1960)] Here are two people who have their own stories - rather dissimilar ones - but who are, for the moment, rather close. What their future is I don't know. I couldn't say anything about it and wouldn't be interested in the subject.
6	The world, the reality in which we live is invisible; hence we have to be satisfied with what we see.
7	I never film a lot: only three or four takes per scene. I rehearse even less - maybe twice, but not more. I am convinced that this is better for the actors. I want the actors to be fresh, not tired. This way they are more natural. To achieve simplicity through exhaustive preparation requires a certain amount of experience and technique. I prefer instead to have the actors in a more 'unrehearsed' state when they first encounter the scene. Many times the first take is the best. But sometimes I like to shoot beyond that scene. Once the actors have done all they had to do and said all they had to say, they still keep on going, by force of inertia, until they hit what I call 'dead moments'. At these moments actors often commit 'errors', which in some way are also part of the scene. I think that these are very sincere moments.
8	My work is like digging, it's archaeological research among the arid materials of our times.
9	I don't know anything about the way a film is born, nothing about the manner of it, the lying-in, the 'big bang', the first three minutes. Whether the images in those first three minutes are born out of their author's deep desire, or if - in an ontological sense - they merely are what they are. I wake up one morning with my head full of images. I don't know where they come from, or how or why. They recur in the following days and months; I can't do anything about them, and I do nothing to drive them away. I'm happy to contemplate them and I make notes in my mind, which I write down in a book some time.
10	The split between morality and science is also the split between man and woman, between snowy Mount Etna and the concrete wall on the housing estate.
11	A new man is being born, fraught with all the fears and terrors and stammerings that are associated with a period of gestation.
12	[on whether Red Desert (1964) is an attack on modern society] It simplifies things too much (as many have done) to say that I accuse this inhuman, industrialized world in which the individual is crushed and led to neurosis. My intention, on the contrary, . . . was to translate the beauty of this world, in which even the factories can be beautiful.
13	People often ask us, "How is a picture born?" A picture probably has its birth in the disorder within us, and that's the difficulty: putting things in order.
14	I detest films that have a "message." I simply try to tell, or, more precisely, show, certain vicissitudes that take place, then hope they will hold the viewer's interest no matter how much bitterness they may reveal. Life is not always happy, and one must have the courage to look at it from all sides.
15	By developing with enlargers things emerge that we probably don't see with the naked eye. The photographer in Blow-Up (1966), who is not a philosopher, wants to see things closer up. But it so happens that by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blowup.
16	[on Identification of a Woman (1982)] I wanted to make a complete departure from any issues over colour or setting. This time, I wanted to focus attention on the characters. If there is some visual beauty, then it's due to the truth value of the emotions I have given the characters. Before this film, I gave too much importance to the setting. But now it's become too easy to make pretty movies. Everybody is doing it.
17	You know what I would like to do? Make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters. Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance. I mean simply to say that I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space. [1969]
18	Present-day people can't adapt to technology. Ravenna, near the sea, has a stretch of factories, refineries, smokestacks, etc on one side and a pine forest on the other. The pine forest is much the more boring feature. So you see, I'm an admirer of technology. From an outsider's view the insides of a computer are marvelous - not just its functioning but the way it is made, which is beautiful in itself. If we pull a man apart, he is revolting; do the same thing to a computer and it remains beautiful. In 2001: A Space Odyssey (1968), you know, the best things in the film are the machines, which are much more splendid than the idiotic humans. In Red Desert (1964), I also confronted this technology and these machines with human beings who are morally and psychologically retarded and this utterly unable to cope with modern life. In my films it is the men who don't function properly - not the machines.
19	We are saddled with a culture that hasn't advanced as far as science. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer. Hence this upset, this disequilibrium that makes weaker people anxious and apprehensive, that makes it so difficult for them to adapt to the mechanism of modern life. We live in a society that compels us to go on using these concepts, and we no longer know what they mean. In the future - not soon, perhaps by the twenty-fifth century - these concepts will have lost their relevance. I can never understand how we have been able to follow these worn-out tracks, which have been laid down by panic in the face of nature. When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them. Sandro in L'Avventura (1960) is a character from a film shot in 1960 and is therefore entirely immersed in such moral problems. He is an Italian, a Catholic, and so he is a victim of this morality. Such moral dilemmas will have no right to exist in a future that will be different from the present. Today we are just beginning to glimpse that future, but in 1960 we lived in a country with the Pope and the Vatican, which have always been extremely important to all of us. There isn't a school in Italy still, not a law court without its crucifix. We have Christ in our houses, and hence the problem of conscience, a problem fed to us as children that afterward we have no end of trouble getting rid of. All the characters in my films are fighting these problems, needing freedom, trying to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
20	What happens to the characters in my films is not important. I could have them do one thing, or another thing. People think that the events in a film are what the film is about. Not true. A film is about the characters, about changes going on inside them. The experiences they have during the course of the film are simply things that 'happen to happen' to characters who do not begin and end when the film does. In Blow-Up (1966), a lot of energy was wasted by people trying to decide if there was a murder, or wasn't a murder, when in fact the film was not about a murder but about a photographer. Those pictures he took were simply one of the things that happened to him, but anything could have happened to him: he was a person living in that world, possessing that personality.
21	My childhood was a happy one. My mother, Elisabetta Roncagli, was a warm and intelligent woman who had been a laborer in her youth. My father also was a good man. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. Curiously enough, our friends were invariably proletarian, and poor. The poor still existed at that time, you recognized them by their clothes. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous.
22	I never discuss the plots of my films. I never release a synopsis before I begin shooting. How could I? Until the film is edited, I have no idea myself what it will be about. And perhaps not even then. Perhaps the film will only be a mood, or a statement about a style of life. Perhaps it has no plot at all. I depart from the script constantly. I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together and only then do I begin to get an idea of what it is about.
23	[on François Truffaut] I think his films are like a river, lovely to see, to bathe in, extraordinarily refreshing and pleasant. Then the water flows and is gone. Very little of the pleasant feeling remains because I soon feel dirty again and need another bath. His images are as powerful as those of Resnais or Godard, but his stories are frivolous. I suppose that's what I object to. René Clair told light stories too, but they touch me more. I don't know why Truffaut's leave me unmoved. I'm not trying to say that he has no significance. I only mean that the way he tells a story doesn't come to anything. Perhaps he doesn't tell my kind of story. Perhaps that's it.
24	The Color of Pomegranates (1969), by Sergei Parajanov, in my opinion, one of the best contemporary filmmakers, strikes with its perfection of beauty.
25	I always try to follow a certain pattern and work without thinking of the audience. It is not that I dislike my audience; I am not an intellectual, but I believe that films should not be made to entertain the audience, earn money or achieve popularity. I think that films should be made to be as good as possible. And it seems to me that this is the best way to work and to be trustworthy in the world of cinema.
26	When I am shooting a film I never think of how I want to shoot something; I simply shoot it. My technique, which differs from film to film, is wholly instinctive and never based on prior considerations.
27	I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is that I don't know. The second, all my opinions on the subject are in my films.
28	A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.
29	Reality changes so rapidly that if one theme is not dealt with, another presents itself. Allowing one's attention to be attracted by each little thing has become a vice of the imagination. All one has to do is to keep one's eyes open: everything becomes full of meaning; everything cries out to be interpreted, reproduced. Thus, there is no one particular film that I would like to make; there is one for every single theme I perceive. And I am excited by these themes, day and night. However, opportunity and other practical considerations limit and direct the choice . . .
30	Actors are like cows. You have to lead them through a fence.
31	I feel like a father towards my old films. You bring children into the world, then they grow up and go off on their own. From time to time you get together, and it's always a pleasure to see them again.

#	Fact
1	Foresaw in the 80s that all the rules of filmmaking would change, that film was going to disappear and be replaced by something else, and that all our living conditions would change as well.
2	Film historian Virginia Wright Wexman once described Antonioni's perspective on the world as that of a "post-religious Marxist and existentialist intellectual.".
3	The statuette of his Honorary Academy Award was stolen by burglars and had to be replaced.
4	Was invited by the Mao government of the People's Republic of China to visit the country after which he made the documentary Chung Kuo - Cina (1973).
5	Was an atheist.
6	He died on the same day as Ingmar Bergman.
7	After his death, Antonioni's body lay in state at the City Hall in Rome. His funeral was held in the cathedral of San Giorgio in his home town of Ferrara. He is buried next to his parents in the Certosa cemetary in Ferrara.
8	The great Italian director is noted in Oscar history for delivering the shortest acceptance speech when he received his Honorary Award in 1995: "Grazie".
9	He was made a Fellow of the British Film Institute, in recognition of his outstanding contribution to film culture.
10	Considered himself a Marxist intellectual.
11	Member of a circle that revolved around the magazine "Cinema", who developed the Italian neorealism, reflecting the changes in Italian everyday life during the postwar period.
12	Was fluent in French.
13	Son of Elisabetta and Carlo Antonioni.
14	In 1985 he suffered a stroke that left him paralyzed on his right side and virtually unable to speak. He communicated through drawings (learning with his left hand), a few words and body language. He was unable to finish any film project until 1995, when he released Al di là delle nuvole (1995), co-directed by German director Wim Wenders.
15	Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 59-69. New York: The H.W. Wilson Company, 1988.
16	In 1940, he worked as an editorial secretary for "Cinema", an entertainment magazine published by the Fascist Entertainment Guild, and edited by the son of Benito Mussolini.
17	Burglars stole an Oscar, awarded for career achievement, from his Rome apartment during the Christmas holidays. [December 1996]

Writer

Title	Year	Status
Two Telegrams		screenplay announced
Eros	2004	book "Quel Bowling sul Tevere" - segment "The Dangerous Thread of Things" / screenplay - segment "The Dangerous Thread of Things"
Michelangelo Eye to Eye	2004	Documentary short story
Al di là delle nuvole	1995	book "That Bowling Alley on the Tiber River" / screenplay
Ritorno a Lisca Bianca	1983	TV Short documentary
Identification of a Woman	1982	screenplay / story
The Mystery of Oberwald	1980	adaptation
Professione: reporter	1975	screenplay
Chung Kuo - Cina	1972	Documentary concept - uncredited
Zabriskie Point	1970	screenplay / story
Blow-Up	1966	screenplay / story
Red Desert	1964
L'Eclisse	1962	scenario and dialogue
La Notte	1961	screenplay / story
L'Avventura	1960	screenplay / story
Il Grido	1957	idea / screenplay
Le Amiche	1955	screenplay
Love in the City	1953	Documentary segment "Tentato suicidio", uncredited
I vinti	1953	screenplay / story
The Lady Without Camelias	1953	screenplay / story
The White Sheik	1952	story - as M. Antonioni
Story of a Love Affair	1950	screenplay / story
La villa dei mostri	1950	Documentary short uncredited
The Funicular of Mount Faloria	1950	Documentary short
Lies of Love	1949	Documentary short writer - uncredited
Seven Reeds, One Suit	1948	Documentary short writer - uncredited
Caccia tragica	1947
People of the Po Valley	1947	Documentary short uncredited
I due Foscari	1942	screenplay
Un pilota ritorna	1942	screenplay

Director

Title	Year	Status
Il Grido	1957
Le Amiche	1955
Love in the City	1953	Documentary segment "Tentato suicidio"
I vinti	1953
The Lady Without Camelias	1953
Story of a Love Affair	1950
La villa dei mostri	1950	Documentary short
The Funicular of Mount Faloria	1950	Documentary short
Lies of Love	1949	Documentary short
Superstitions	1949	Short documentary
Roma-Montevideo	1948	Documentary short
Seven Reeds, One Suit	1948	Documentary short as Michelangiolo Antonioni
N.U.	1948	Short documentary
People of the Po Valley	1947	Documentary short
Eros	2004	segment "The Dangerous Thread of Things"
Michelangelo Eye to Eye	2004	Documentary short
Sicilia	1997	Short
Al di là delle nuvole	1995
Noto, mandorli, Vulcano, Stromboli, carnevale	1992	Documentary short
12 registi per 12 città	1989	Documentary segment "Roma"
Kumbha Mela	1989	Documentary short
Ritorno a Lisca Bianca	1983	TV Short documentary
Identification of a Woman	1982
The Mystery of Oberwald	1980
Professione: reporter	1975
Chung Kuo - Cina	1972	Documentary
Zabriskie Point	1970
Blow-Up	1966
I tre volti	1965	segment "Il provino"
Red Desert	1964
L'Eclisse	1962
La Notte	1961
L'Avventura	1960

Editor

Title	Year	Status
Al di là delle nuvole	1995
Noto, mandorli, Vulcano, Stromboli, carnevale	1992	Documentary short
Kumbha Mela	1989	Documentary short
Ritorno a Lisca Bianca	1983	TV Short documentary
Identification of a Woman	1982
The Mystery of Oberwald	1980
Professione: reporter	1975
Zabriskie Point	1970	uncredited
Story of a Love Affair	1950	uncredited

Assistant Director

Title	Year	Status
Sheba and the Gladiator	1959	second unit director - uncredited
Tempest	1958	assistant director / second unit director
Les Visiteurs du Soir	1942	assistant director - uncredited
I due Foscari	1942	assistant director

Producer

Title	Year	Status
Liv	1998	Short producer
Sicilia	1997	Short producer
Uomini in piú	1950	Documentary short producer

Production Designer

Title	Year	Status	Character
Michelangelo Eye to Eye	2004	Documentary short

Soundtrack

Title	Year	Status	Character
Io la conoscevo bene	1965	as Ammonio, "Eclisse Twist"

Miscellaneous

Title	Year	Status	Character
Questo nostro mondo	1957	Documentary supervising director

Thanks

Title	Year	Status
A La Dolce Vita	2017	Short the director wishes to thank
Nosferatu vs. Father Pipecock & Sister Funk	2014	special thanks
La primavera	2012	Documentary the director wishes to thank
Amor o Muerte	2009	Short in memoriam
Palermo Shooting	2008	in memory of
777	2007	Short dedicatee

Self

Title	Year	Status	Character
Coração Vagabundo	2008	Documentary	Himself
L'occhio è per così dire l'evoluzione biologica di una lacrima e autoritratto Auschwitz	2007	Documentary short	Himself
Con Michelangelo	2005	Documentary
Michelangelo Eye to Eye	2004	Documentary short	Himself
Festival international de Cannes	1971-1997	TV Series	Himself
To Make a Film Is to Be Alive	1995	Documentary	Himself
The 67th Annual Academy Awards	1995	TV Special	Himself - Honorary Award Recipient
Hollywood U.K.	1993	TV Series documentary	Himself
Biennale del cinema di Venezia - Serata finale	1984	TV Movie	Himself
Chambre 666	1982	TV Movie documentary	Himself
Apropos Film	1975	TV Series documentary	Himself
Antonioni: Documents and Testimonials	1965	TV Movie documentary	Himself (uncredited)

Archive Footage

Title	Year	Status	Character
Close Up	2012	Documentary	Himself
1960	2010	Documentary	Himself
Back to Room 666	2008	Documentary short	Himself
Antonioni su Antonioni	2008	Documentary	Himself
The 80th Annual Academy Awards	2008	TV Special	Himself - Memorial Tribute
Cannes, 60 ans d'histoires	2007	TV Movie documentary	Himself
Épreuves d'artistes	2004	TV Movie documentary	Himself
Fame, Fashion and Photography: The Real Blow Up	2002	TV Movie documentary	Himself
Michelangelo Antonioni: Lo sguardo che ha cambiato il cinema	2001	Video documentary	Himself
Arena	1997	TV Series documentary	Himself

Won Awards

Year	Award	Ceremony	Nomination	Movie
2004	FIPRESCI Prize	Valladolid International Film Festival	Short Film	Lo sguardo di Michelangelo (2004)
2001	Special Citation	National Society of Film Critics Awards, USA		For the exemplary intelligence, creativity and integrity of his half-century-long career.
2000	Career Award	Flaiano International Prizes	Cinema
1998	Lifetime Achievement Award	Palm Springs International Film Festival
1998	Pietro Bianchi Award	Venice Film Festival
1996	Lifetime Achievement Award	Istanbul International Film Festival
1995	Honorary Award	Academy Awards, USA
1995	BFI Fellowship	British Film Institute Awards
1995	Golden Career Gryphon	Giffoni Film Festival
1995	Grand Prix Special des Amériques	Montréal World Film Festival		On the occasion of the centennial of cinema, for his exceptional contribution to the ... More
1995	FIPRESCI Prize	Venice Film Festival		Al di là delle nuvole (1995)
1993	Lifetime Achievement Award	European Film Awards
1991	François Truffaut Award	Giffoni Film Festival
1983	Career Golden Lion	Venice Film Festival
1982	35th Anniversary Prize	Cannes Film Festival		Identificazione di una donna (1982)
1980	AGIS Award	Venice Film Festival		Il mistero di Oberwald (1980)
1977	Critics Award	SESC Film Festival, Brazil	Best Foreign Film (Melhor Filme Estrangeiro)	Professione: reporter (1975)
1976	Bodil	Bodil Awards	Best European Film (Bedste europæiske film)	Professione: reporter (1975)
1976	Luchino Visconti Award	David di Donatello Awards
1976	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	Professione: reporter (1975)
1970	Golden Goblet	Golden Goblets, Italy	Best Director (Migliore Regista)	Zabriskie Point (1970)
1968	Critics Award	French Syndicate of Cinema Critics	Best Foreign Film	Blowup (1966)
1968	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Foreign Director (Regista del Miglior Film Straniero)	Blowup (1966)
1967	Palme d'Or	Cannes Film Festival		Blowup (1966)
1967	KCFCC Award	Kansas City Film Critics Circle Awards	Best Director	Blowup (1966)
1967	NSFC Award	National Society of Film Critics Awards, USA	Best Director	Blowup (1966)
1964	Golden Lion	Venice Film Festival		Il deserto rosso (1964)
1964	FIPRESCI Prize	Venice Film Festival		Il deserto rosso (1964)
1964	New Cinema Award	Venice Film Festival	Best Film	Il deserto rosso (1964)
1962	Jury Special Prize	Cannes Film Festival		L'eclisse (1962)
1962	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	La notte (1961)
1961	Golden Berlin Bear	Berlin International Film Festival		La notte (1961)
1961	FIPRESCI Prize	Berlin International Film Festival		For the body of his work.
1961	David	David di Donatello Awards	Best Director (Migliore Regista)	La notte (1961)
1961	Special Mention	Thessaloniki Film Festival		L'avventura (1960)
1960	Sutherland Trophy	British Film Institute Awards		L'avventura (1960)
1960	Jury Prize	Cannes Film Festival		L'avventura (1960)
1959	Laceno d'Oro	Avellino Neorealism Film Festival		Il grido (1957)
1957	Prize	Locarno International Film Festival		Il grido (1957)
1956	Golden Goblet	Golden Goblets, Italy	Best Director (Migliore Regista)	Le amiche (1955)
1956	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Migliore Regia)	Le amiche (1955)
1955	Silver Lion	Venice Film Festival		Le amiche (1955)
1951	Special Silver Ribbon	Italian National Syndicate of Film Journalists		Cronaca di un amore (1950)
1950	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Documentary (Miglior Documentario)	L'amorosa menzogna (1949)
1948	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Documentary (Miglior Documentario)	N.U. (1948)

Nominated Awards

Year	Award	Ceremony	Nomination	Movie
1996	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	Al di là delle nuvole (1995)
1995	Golden Spike	Valladolid International Film Festival		Al di là delle nuvole (1995)
1983	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Screenplay (Migliore Sceneggiatura)	Identificazione di una donna (1982)
1982	Palme d'Or	Cannes Film Festival		Identificazione di una donna (1982)
1975	Palme d'Or	Cannes Film Festival		Professione: reporter (1975)
1971	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Foreign Director (Regista del Miglior Film Straniero)	Zabriskie Point (1970)
1968	BAFTA Film Award	BAFTA Awards	Best British Film	Blowup (1966)
1967	Oscar	Academy Awards, USA	Best Director	Blowup (1966)
1967	Oscar	Academy Awards, USA	Best Writing, Story and Screenplay - Written Directly for the Screen	Blowup (1966)
1965	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	Il deserto rosso (1964)
1963	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	L'eclisse (1962)
1962	Palme d'Or	Cannes Film Festival		L'eclisse (1962)
1961	BAFTA Film Award	BAFTA Awards	Best Film from any Source	L'avventura (1960)
1961	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Director (Regista del Miglior Film)	L'avventura (1960)
1961	Silver Ribbon	Italian National Syndicate of Film Journalists	Best Original Story (Migliore Soggetto)	L'avventura (1960)
1960	Palme d'Or	Cannes Film Festival		L'avventura (1960)
1955	Golden Lion	Venice Film Festival		Le amiche (1955)
1953	Golden Lion	Venice Film Festival		I vinti (1953)

3^rd Place Awards

Year	Award	Ceremony	Nomination	Movie
1966	NYFCC Award	New York Film Critics Circle Awards	Best Director	Blowup (1966)

Known for movies

Source

Michelangelo Antonioni Net Worth

Michelangelo Antonioni Net Worth is
$14 Million