L'eclisse has one of the most elegant codas on celluloid. Before this cool and sobering crescendo, Michelangelo Antonioni documents an affair between Eros' dream couple of Monica Vitti and Alain Delon, here playing a translator and a stockbroker. The two beauties meet after Vitti leaves a writer (Francisco Rabal), and their ensuing pas de deux — fleshed out across Rome and its monumental architecture — is more or less stamped with an expiration date. This conclusion to Antonioni's trilogy on alienation (one that loops in L'avventura and La notte) is a perfectly composed ode to modernity and its many entanglements.