Structurally [L'Avventura] is remarkable for its almost complete lack of resolution—particularly in the case of Anna, who is, after all, one of the two leading characters in the first part of the film. Little explanation is given for her disappearance, and none at all of what she has done….

We receive information as it is presented to the characters, in the wrong, or rather "illogical," order. Example: we are not actually told until near the end of the film, when she mentions it to Patrizia, that Claudia comes from a poor family. In retrospect one can find sufficient evidence of her social position earlier in the film, but one only realizes its significance after one has been told—Antonioni relies heavily on the audience's power of recollection. (p. 3)

We are shown what the characters see and learn what they learn, but without identifying with them, so that...