One of the most fascinating aspects of Cronaca di un amore is its objective study of the clash of social standards. The glossy bars, the elegance of Paola's clothes, and the luxury of Fontana's home … are contrasted expertly with the dingy hotels where Paola and Guido (who has "degenerated" into a car salesman since their first affair) are compelled to meet…. The closing images of the film, as Paola stands weeping in a deserted street at night, her opulent evening dress splashed with mud, summarise this contrast. There is in Paola a fundamental fear of poverty and squalor. (pp. 9-10)

Technically, this first feature provides a foretaste of the methods Antonioni uses in his more mature work. Long takes & elaborate panning shots are prolific, and the scene on the bridge, when Paola and her lover nervously decide on the murder of Fontana, runs for almost four minutes. The...