cinehunch
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
01
Why this pick
Antonioni again turns alienation into landscape: an American drifter slips through sun-blasted spaces, with patient pacing, elusive identity, and a cool political unease that echoes Zabriskie Point's countercultural dislocation.
02
Why this pick
Its near-wordless young drivers, vacant American roads, and refusal of conventional dramatic payoff make this a similarly hypnotic, anti-establishment road film.
03
Why this pick
A fractured, self-questioning vision of post-1960s America, using wandering, surreal ruptures, and counterculture exhaustion rather than a tidy plot.
04
Why this pick
For the same collision of freedom-seeking youth with a hostile America, carried by open-road imagery, drifting encounters, and the fading idealism surrounding Zabriskie Point.
05
Why this pick
Wenders shares Antonioni's eye for anonymous modern spaces and estranged travel; its road journey is gentler, but equally attentive to loneliness, images, and uncertain connection.
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01 / THE STORY
In a room at a university campus in 1970, white and black students argue about an impending student strike. Mark (Mark Frechette) leaves the meeting after saying he is "willing to die, but not of boredom" for the cause, which draws criticism from the young white radicals. Following a mass arrest at the University campus protest, Mark visits a police station hoping to bail his roommate out of jail. He is told to wait but goes to the lock-up area, asks further about bail for his roommate, is rebuffed, calls out to the arrested students and faculty and is arrested. He gives his name as Karl Marx, which a duty officer types as "Carl Marx". After he is released from jail, Mark and another friend buy guns from a Los Angeles gun shop, saying they need them for "self-defense" to "protect our women."
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02 / FACES IN THE FRAME
Cafe Owner
Man Departing Airplane
Mark
Daria
Lee Allen
