Vertigine (Vertigo) is the original title of a fragment of around 4', signed by Michelangelo Antonioni, which is a part of the eight-minutes documentary La funivia del Faloria. The title was eventually modified in La funivia del Faloria because considered more effective to obtain the governmental prize (at the time the minimum length allowed was 8 minutes). Vertigine was shot in 1949 with the cinematographer Bellisario, who was director of photography in several documentaries in those years, but was edited only in 1950, after Antonioni had made his first feature film, Cronaca di un amore.

Documentary | Short

Twenty-three years after L'Avventura (1960), Michelangelo Antonioni returns to Lisca Bianca Island. The rarefied atmosphere of Anna's (Lea Massari's) disappearance is recalled by some audio excerpts from the original movie.

A short documentary on the production of rayon, shot in Torviscosa (Italy). It portrays the production of this new synthetic fabric in the small town of Torviscosa, entirely built following strict fascist canons

Three tales of privileged youth entangled in murder: French students kill for money, an Italian student smuggles cigarettes, and an English poet exploits a grim discovery.

A documentary short detailing the life of Italians living on the Po River in the 1940s.

Short documentary about superstition in southern Italy.

A Fascist pilot, Lt. Gino Rossati (Massimo Girotti), is flying a bombing run from Italy to Greece in the early spring of 1941. He is shot down by British aircraft and becomes a prisoner of war, first of the British and later the Greeks. In one of the prison camps, he falls in love with Anna (Michela Belmonte), the teenage daughter of an Italian doctor. The film's supervisor and story author, "Tito Silvio Mursino," the screen pseudonym of Vittorio Mussolini, was the son of Italy's Fascist dictator Benito Mussolini.
For the first time I've seen a film by Roberto Rossellini prior to his Neorealist classics, based on a story by il Duce's son, Vittorio Mussolini (credited with the anagram Tito Silvio Mursino). So by its date and origin it may be labeled a "Fascist film", but not surprisingly Rossellini avoids any overt reference to or exaltation of the regime, from a screenplay co-written with Michelangelo Antonioni, among others. At first I thought I was going to see a sort of Italian "Top Gun" as the movie takes around 20 minutes describing the activities of Italian pilots, but soon the airplane of the title hero (Massimo Girotti, the star of Visconti's "Ossessione") is knocked down and he is imprisoned by the British officers. Suddenly the hunter becomes the hunted, and Rossellini elaborates on his belief that personal stories are illustrations of history and politics: the pilot is nothing but a puppet of his country's foreign policy. Rossellini then describes the state of the prisoners, as they endure cold, hunger and disease, and are taken by the British from an old farm to a port in the Mediterranean, while bombs are dropped over roads, fields and bridges, to a patriotic ending (that is revealed by the title). Rossellini tells this story in 85 minutes, with early examples of what Bazin would describe as "image fact": long takes, where the camera moves (including a 360° turn) not to advance the story, but to show the environment, the conditions where the characters interact. Rossellini narrates fast and synthesizes the fable, though his economy was not determined --as in "Romà, citta aperta"-- by the surrounding events (war), showing the development of a style that would grow during the Neorealist movement

A man, mirroring the assassinated King, infiltrates a castle to kill the Queen but hesitates, leading to a deadly dare and revelation of shared history.

1948 film by Michelangelo Antonioni

This short documentary explores the world of Italian photo comics (fumetti), focusing on the models who posed as romantic heroes and heroines for popular illustrated stories. By contrasting their staged screen personas with their everyday lives, the film offers an observational look at a mass-culture phenomenon in postwar Italy.

Movie director Niccolò has just been left by his wife. Subsequently he embarks on an obsessive relationship with a young woman who eventually leaves him and disappears while searching for her, he meets a variety of other willing girls. This gives him the idea of making a movie about women's relationships. He starts to search for a woman who can play the leading part in the movie.

Six vignettes explore love and desire in Rome, from prostitution and heartache to unwed motherhood and the male gaze.

A Milanese shop assistant becomes an overnight film sensation when fate lands her the leading role in a prominent producer's romantic drama.

A wealthy, possessive husband's investigation reignites his young wife's past love, leading them to plot against him. As obstacles fall away, their passion faces a new test.

1972 film by Michelangelo Antonioni

In Italy, small-town newlyweds Wanda and Ivan Cavalli embark on their honeymoon in the big city of Rome. Ivan dutifully wants to keep appointments with family and church, but Wanda is only interested in meeting her favorite photo-strip star known as "The White Sheik". While Wanda impetuously sneaks away to locate the object of her affections, disconsolate Ivan tries his hardest to keep up appearances with the couple's relatives.

1970 film by Michelangelo Antonioni

1957 film directed by Michelangelo Antonioni

In an industrializing Italian town, a married woman, rendered mentally unstable after a traffic accident, drifts into an affair with a friend of her husband.