这是一部向意大利电影大师安东尼奥尼致敬的纪录片。1972年，年近60的米开朗基罗"安东尼奥尼（1912年9月29日—2007年7月30日）以其特有的理性和“日常的方式”纪录了《中国》。然而，这部纪录片却引发了一场中意外交事件和在中国持续了一年多的大规模的全国性批判运动。如今，纪录片《中国已远——安东尼奥尼与中国》不仅为我们留下了大师晚年的影像，同时也将当今的中国与32年前的中国穿插对应，为大师、也为我们留下了一份生命面貌流转的记忆。晚年的安东尼奥尼，专心于绘画，他的画与中国传统的山水画有着莫名的相似。大师说：“对于中国，我尊重，然后热爱。”在当下，世界急速发展着，许多值得珍视的东西慢慢变得不重要了，大师也逐渐淡出了人们的视线。然而，依然有一些人栖息在大师曾为他们营造的梦境里，久久不愿离去。当大师通过一部纪录片向我们走近的时候，《中国》却离我们越来越远。

The Punto de Vista film festival invited a series of contemporary directors to make short film-letters, addressed to other directors they admired but had never met in person. Among others, Lynne Sachs wrote to Jean Vigo, Nicolás Pereda paid homage to Chantal Akerman and Alejo Moguillansky greeted Antonioni. Because cinema is also a way of connecting, getting to know each other and falling in love.

Quote: 　　By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film's repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker's recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti's marble statue of Moses - a scaled down version of an ambitiously conceived wall tomb for Pope Julius II - is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture's composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses' opaque gaze - an image that is sublimely matched by the filmmaker's own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture's robust physical form and timeless, universal beauty, Antonioni's juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of - and mortal transcendence through - enlightened art. 　　filmref.com

Sandro Lai compiled interviews, talk show appearances, and award presentations from Italian TV for this 2001 film chronicling most of the director's career. It hardly qualifies as in-depth analysis of either the man or his films, but it has a lot of historical flavor and some odd bits of trivia (Antonioni once visited John F. Kennedy in the White House to discuss a film about the projected moon landing). Apparently Antonioni shifted to color before much of Italian TV did, because the brief coverage here of Red Desert (1964), Blowup (1966), and Zabriskie Point (1969) is in black and white, and color arrives only with his disputed documentary about China. 58 min.

安东尼奥·高迪:（Antonio Gaudi，1852.6.25—1926.6.10），西班牙建筑师，塑性建筑流派的代表人物，属于现代主义建筑风格。高迪曾就学于巴塞罗那省立建筑学校，毕业后初期作品近似华丽的维多利亚式，后采用历史风格，属哥特复兴的主流。高迪最早接受的主要委托项目是完成巴塞罗那的神圣家族教堂（1883—目前仍在建设中），这是一座极有个性和感染力的建筑物（高迪去世时仅完成一个耳堂和四个塔楼之一），米拉公寓，巴特罗公寓（又称巴特罗之家），吉埃尔礼拜堂和古埃尔公园。 　　生平年表 　　·1852年6月25日　诞生于加泰罗尼亚小城雷乌斯 　　·1870年　进入巴塞罗那建筑学校就读 　　·1877年　毕业设计为一所大学的礼堂 　　·1878年　获得了建筑师的称号,且结识了欧塞维奥·古埃尔 　　·1883年　主持圣家族大教堂的修建 　　·1900年　决定建造“古埃尔公园” 　　·1926年6月10日　于巴塞罗那有轨电车通车典礼被电车撞倒去世

由影帝杰拉尔.德帕迪约主演的一个滑稽、笨拙的玩笑百出的侦探，因一个案子而卷入一连惊心动魄而有趣的惊险…… 　　影片根据弗里德里克．达德1959年的电影重新改编，拍摄前4天，德帕迪约与吉拉德．朗文相互掉转了角色，由大鼻子情圣出演这个法国被占时期的搞怪警察。

研究安东尼奥·高迪的建筑风格（尤其是巴塞罗那的圣三一教堂）、他的灵感来源以及他对毕加索的影响。