Zabriskie Point

Synopsis: An epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los Angeles desert) and dropout Mark (who's wanted by the authorities for allegedly killing a policeman during a student riot)...
Genre: Drama
Production: MGM
  1 win & 1 nomination.
Rotten Tomatoes:
113 min

It's the same story,

for 300 years; if you're so clever,

why didn't you join us

from the beginning?

Now, our only choice is to

tell them "we're sorry"

the university is closed, on strike.

We'll blow a whistle when it's over.

What about boycotting

military recruitment at the university?

There's only one thing to do:

go to the recruitment offices,

take a bottle, fill it with petrol,

cork it...


but what if we want to blow

up sociology instead?

Listen, a molotov is a

mix of petrol and kerosene,

a radical white man

is a mix of chat and sh*t.

Listen, I'm not here to show you

my revolutionary credentials,

but there are plenty of white students

fighting on the street,

just as you in the ghetto.

And there are plenty of unsatisfied whites

who are potential revolutionaries.

Here we go again with the same discussion, guys.

When they put you in jail

because of a bit of marjuana,

you become revolutionary.

But when they smash your face,

break your head,

prevent you from living, going to school,

from getting a job,

then you must become revolutionary.

That's why you people say we

negroes are living in another...

Wait a moment. You're talking to white

students. I think we understand.

Yes, a lot of us understand what

makes negroes revolutionary,

but what makes white people revolutionary?

The same f***ing thing that

makes negroes revolutionary.

But it doesn't happen the same way.

It'll happen, don't worry.

You won't need to do anything to make it happen.

You can prevent it, sure.

You can break it off.

You can do everything, but you can't...

- For example?

This country is falling into Fascism,

can't you see?

I mean, now we have police at

the university, and then? Where next?

Sitting with us in class?

Inside our homes? And then?

On the street, when you go out?

Are you waiting for that to become


What I mean is that we should

close the univeristy, that's it,

and nobody should break our chops,

if they do,

it'll be at their risk.

And when they decide to reopen,

they'll do it on our conditions.

But why stop people from

going to class? Why...

Because they're against us.

They prevent us from getting what we deserve.

We've tried everything: begged,

negotiated, written programs,

but we haven't gotten a damn.

I think, and I'm not alone,

that everyone knows that the main

point of every guerrilla

is that the enemy is invisible. Things happen,

and they don't know how and where.

People who act to draw attention

on themselves,

do it on purpose

to divert it from others

I don't think, we've reached this point yet.

We've just begun to involve people.

If you want to close the university,

what do you want to...

- We don't even have the support of white people...

- Hey listen to me!

- We need mass demonstrations.

- Just a moment!

The side of the black students

doesn't want to give a show.

We just close the univesity and that's it.

Speaking of what you say,

I don't agree, you know,

I mean about the help from white people.

It doesn't matter so much.

Because if tomorrow our agitation

is successful,

every student,

demonstrator or not, black or white,

will be considered an enemy,

and it'll be easier to keep this tension

that we've became a public threat.

Well then I share your opinion.

There is no more coffee.

Can you make some more?

Isn't there any man who can make coffee?

- Now let's listen to you. - I suggest that we form

some groups of 4 or 5,

that should stay out of the university

and that, at some given moment,

should move behind the police.

- Please!

- Yes, I mean as distracting tactics,

- So the others could have time to reach...

- Just a moment!

Are cars good to build barricades?

- Cars?

- Inside the university?

- As tactics to...

- Why don't you bring your own here?

It's a sport car, is it ok? Bring it here,

then I'll take care of it.

Is it possible that you don't

understand that until...

- Silence!

- There's only one way to talk with white men,

and that's in their language.

if they talk with weapons,

you answer with weapons, it's easy

- But are you ready to die?

- Many black men already did,

and many others are now dying in this country;

if we're on the top of the movement,

it's because we pay personally.

- I'm also ready to die.

- Alone?

But not of boredom.

Who the hell is he?

No no, it's alright, he lives with me.

Maybe meetings aren't his forte.

Sorry, but if it wasn't to join us,

why did he come?

Why? Who has the right to say if he

wants to stay here or not?

What kind of bullshit is that?

If he wants to be a revolutionary, he has

to stay with other people, otherwise...

That's why he came here.

There is no revolutionary without other people.

Who was Lenin with no organisation,

or Castro.

Even anarchists spent their

life in meetings, what the hell...

Tell that guy to start reading the

Little Red Book, the first page,

where it says that the revolution cannot

break out anywhere without a revolutionary party.

And that if he continues his middle-class individualism,

he'll lose his life.

To the end against

the middle-class individualism!

There was an open door on the third

floor, now it's ok.

Is it allowed to go on the roof?

I mean, do you let me go up?


I have to take a book,

I forgot it upstairs at lunchtime.

Which book?

Why don't you eat at the cafeteria?

- How was your holiday?

- Well, we'll meet us later.

Who can give me the permission?

- Good evening Mr. Allen.

- Good evening Tom.

Did you stay up late today?

Yes, I had to work.

May I help you?

Well, I hope. I replaced a secretary today,

I went up at lunchtime.

and I forgot... - A book.

- Are you a secretary?

- Actually I don't like it,

I work only when I need it.

Who's that girl?

- A girl from my past past.

- What's her name?


My sister.

What's that stuff?

It's a form:
in case of roundup,

they release you sooner

if you give it to them already filled up.

"Always ready", don't you have another slogan?

You have to be realist.

Listen up, the day you'll

decide not to resign yourselves,

I'll enter the movement

A lot a people cannot chose,

for many it's a question of survival.

That's what I mean.

- What?

- Really. I'm not joking.

I'm sick of this, young people talk about

violence, and the police do it.

Have you seen that idiot today who said

that one should do something...

...only when it's needed?

Well, I need it before.

Anyway, the demonstration will be

in front of the rectorship all day.

Well, alright.

Here check 1 to surveillance 1AL51.

It's enough for today.

Surveillance to 1AL51.


What do you want?

A friend of mine was arrested today.

I'd like to know if he's been relased.

- One of the students? - Yes.

They are recording them.

It takes some time.

Sit down.

Does it take a lot?

- 5 minutes. Or 5 hours.


Empty your pockets.

- Name? - George S. Tolli.

Put your hands above.

- Tolli? - T.O.L.L.I.

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Michelangelo Antonioni

Michelangelo Antonioni, Cavaliere di Gran Croce OMRI (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story author. Best known for his "trilogy on modernity and its discontents" — L'Avventura (1960), La Notte (1961), and L'Eclisse (1962), as well as the English-language Blowup (1966), Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and story. His films defined a "cinema of possibilities".Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. He is one of three directors to have won the Palme d'Or, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. more…

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Submitted on August 05, 2018

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