Greatest unresolved movie questions?

[Ray Jackson]

Scarface:

Was Omar really an informant?

...or did Sosa just make that up as a means to get Tony to leave Frank and be his guy?

I go back and forth on this one every time I watch the movie.

[Ray Jackson]

Blade Runner:

[Show spoiler]Was Deckard a replicant?

[Michael24]

Originally Posted by Ray Jackson

Blade Runner:

[Show spoiler]Was Deckard a replicant?

According to Ridley Scott, yes. I suppose we'll get canon confirmation within the next couple of years when the sequel comes out.

[Ray Jackson]

2001: A Space Odyssey

Just who and what was the Monolith?

[Moviefan2k4]

Did Dark Helmet, Col. Sandurz, and President Skroob ever escape from the Planet of the Apes?

[Jacob Anderson]

Inception

[MechaGodzilla]

In Jurassic Park III, do Alan Grant and Billy Brennan have a strictly mentor and protégé relationship, or is there... more, to it? The world may never know.

[Blu-Benny]

did the top stop spinning??

[Moviefan2k4]

Is Bettlejuice's head still shrunk?

Did Terrence Mann ever write his report, on what he saw beyond Ray Kinsella's field?

Did Vinny Gambini ever marry Mona Lisa Vito?

What happened to Truman Burbank, after he left the sphere?

Did Richard Tyler ever try to revisit the animated world he discovered in the library?

What did Michael, Rachel, and Shorty do with that $90 million?

Did Sara and Seth ever return from their homeworld, to visit Jack Bruno in Vegas?

[Al_The_Strange]

Doubt

[Show spoiler]Was Father Flynn really guilty, or was Sister Aloysius Beauvier just overly-paranoid?

Solaris (1972)

[Show spoiler]So is Kris still stuck on the planet, or was it all in his head?

Ronin

[Show spoiler]What was in that briefcase?!

Interstellar

[Show spoiler]How could those 5th dimensional beings be humanity's ascendants, if humanity was doomed to die off in the future?

Snowpiercer

Okay...so...what happens now?

Most David Lynch movies

...what does it mean?!

[The Great Owl]

Gordie: Alright, alright, Mickey's a mouse, Donald's a duck, Pluto's a dog. What's Goofy?
Vern: If I could only have one food for the rest of my life? That's easy-Pez. Cherry-flavored Pez. No question about it.
Teddy: Goofy's a dog. He's definitely a dog.
Gordie: I knew the $64,000 question was fixed. There's no way anybody could know that much about opera!
Chris: He can't be a dog. He drives a car and wears a hat.
Gordie: Wagon Train's a really cool show, but did you notice they never get anywhere? They just keep wagon training.
Vern: Oh, God. That's weird. What the hell is Goofy?

[Al_The_Strange]

Originally Posted by Jacob Anderson

Inception

Originally Posted by Blu-Benny

did the top stop spinning??

I think Nolan confirmed publicly that

[Show spoiler]the top does indeed stop spinning

Originally Posted by io9

[Show spoiler]In the end you can hear Cobb's top topple over thus proving that he's not in a dream, Nolan's response: "This gives Cobb a base-line reality. But he's an untrustworthy narrator."

So a non-answer really. What about the fact that Cobb's children are wearing the same clothes in his dreams and in the climax? Plus they haven't aged at all? Clearly THIS proves that he is in a dream. Nolan's response: "The kids are not wearing the same clothes at the end! And they do age! We were working with two sets of kids."


But what about the fact that Cobb is clearly not looking at the top in the end? Does that mean he doesn't care if it's a dream or reality he's happy, so clearly it is a dream or else why else show that? Nolan's response: "The important thing is that Cobb's not looking at the top. He doesn't care."


One Of Many Articles

[Ray Jackson]

What happened to the woman who disappeared at the beginning of L'Avventura?

...I will be impressed if anyone knows what I'm talking about.

[Al_The_Strange]

Originally Posted by Ray Jackson

What happened to the woman who disappeared at the beginning of L'Avventura?

...I will be impressed if anyone knows what I'm talking about.

Seen the movie, but in the end, I didn't really give a flying darn.

[The Great Owl]

Originally Posted by Ray Jackson

What happened to the woman who disappeared at the beginning of L'Avventura?

...I will be impressed if anyone knows what I'm talking about.

I love L'Avventura.

An excerpt from my User Review of the Criterion Blu-ray...

[Show spoiler]The title of Michelangelo Antonioni's 1960 film, L'Avventura (The Adventure), could refer to the yacht cruise where a young woman, Anna (Lea Massari), goes missing, it could refer to a fling between Anna's lover, Sandro (Gabriele Ferzetti), and her best friend, Claudia (Monica Vitti), that begins as they search for her, or it could refer to Claudia's personal transformation from shyness to assertiveness over the course of the story. Nothing here feels particularly adventurous at first glance, though. The mystery involving Anna's disappearance might have provided the fuel to drive another movie from beginning to end, but this film simply dismisses this plot element and focuses its attention elsewhere.

In present day terms, watching L'Avventura is almost like starting an engaging conversation with a friend at lunch, only to have the conversation interrupted when the friend answers his iPhone and ignores you in favor of texting someone else. Characters in this film are constantly distracted from one another, characters glance away from each other while talking, and characters turn their heads away when others attempt to kiss them. In this story, unanswered questions do not represent a failure of the filmmakers to fulfill our need for closure. Instead, the lack of fulfillment is the story in and of itself. The possession of wealth and the access to diversions can lead to constant distraction and detachment. L'Avventura purposely distracts the viewer in turn, by way of interactions that are seemingly unrelated to the narrative and a variety of "found objects" on the screen that come between us and the characters. Antonioni might not have attended a party where guests were constantly checking Facebook on their phones instead of interacting with one another, but his examination of affluence in postwar Italy applies just as well to present-day society.

One would imagine that such a cinematic endeavor would be a frustrating experience, but the greatness of L'Avventura is that it uses settings, backgrounds, and framing to convey the predicaments of the characters. As their amorous feelings for each other gain momentum, Sandro and Claudia are literally located on high ground, via island cliffs, church temples, and such. As they struggle to relate to one another, they are literally separated by jagged rocks, ropes, or architectural marvels behind them. After a sudden first kiss, the camera itself moves with the waves beneath a boat as if to illustrate shaky emotions. One of my favorite sequences in cinema, where Claudia opens the door of an island hut to reveal a beautiful sunrise, invites us to appreciate the beauty without allowing us to linger. Late in the film, a beautiful love scene featuring extreme closeups of the characters captures the joy of intimacy, but also keeps us at a distance by showing the back of the characters' heads during the kisses as much as it shows their faces. Our minds may not always follow the dialogue, but our eyes are shown everything that we need to know. L'Avventura is one of the most visually intuitive films in the world of cinema, in the same way that the touchpad of a smartphone is intuitive enough to divert our focus from our surroundings.

[Nuka]

What were the three sea shells used for?

[AaronJ]

Originally Posted by The Great Owl

I love L'Avventura.

An excerpt from my User Review of the Criterion Blu-ray...

[Show spoiler]The title of Michelangelo Antonioni's 1960 film, L'Avventura (The Adventure), could refer to the yacht cruise where a young woman, Anna (Lea Massari), goes missing, it could refer to a fling between Anna's lover, Sandro (Gabriele Ferzetti), and her best friend, Claudia (Monica Vitti), that begins as they search for her, or it could refer to Claudia's personal transformation from shyness to assertiveness over the course of the story. Nothing here feels particularly adventurous at first glance, though. The mystery involving Anna's disappearance might have provided the fuel to drive another movie from beginning to end, but this film simply dismisses this plot element and focuses its attention elsewhere.

In present day terms, watching L'Avventura is almost like starting an engaging conversation with a friend at lunch, only to have the conversation interrupted when the friend answers his iPhone and ignores you in favor of texting someone else. Characters in this film are constantly distracted from one another, characters glance away from each other while talking, and characters turn their heads away when others attempt to kiss them. In this story, unanswered questions do not represent a failure of the filmmakers to fulfill our need for closure. Instead, the lack of fulfillment is the story in and of itself. The possession of wealth and the access to diversions can lead to constant distraction and detachment. L'Avventura purposely distracts the viewer in turn, by way of interactions that are seemingly unrelated to the narrative and a variety of "found objects" on the screen that come between us and the characters. Antonioni might not have attended a party where guests were constantly checking Facebook on their phones instead of interacting with one another, but his examination of affluence in postwar Italy applies just as well to present-day society.

One would imagine that such a cinematic endeavor would be a frustrating experience, but the greatness of L'Avventura is that it uses settings, backgrounds, and framing to convey the predicaments of the characters. As their amorous feelings for each other gain momentum, Sandro and Claudia are literally located on high ground, via island cliffs, church temples, and such. As they struggle to relate to one another, they are literally separated by jagged rocks, ropes, or architectural marvels behind them. After a sudden first kiss, the camera itself moves with the waves beneath a boat as if to illustrate shaky emotions. One of my favorite sequences in cinema, where Claudia opens the door of an island hut to reveal a beautiful sunrise, invites us to appreciate the beauty without allowing us to linger. Late in the film, a beautiful love scene featuring extreme closeups of the characters captures the joy of intimacy, but also keeps us at a distance by showing the back of the characters' heads during the kisses as much as it shows their faces. Our minds may not always follow the dialogue, but our eyes are shown everything that we need to know. L'Avventura is one of the most visually intuitive films in the world of cinema, in the same way that the touchpad of a smartphone is intuitive enough to divert our focus from our surroundings.

That review excerpt pretty much nails why it is such a great picture. It also nails why "What happened to Anna?" isn't really an unanswered question as it is an irrelevant one. Essentially, Anna is this story's MacGuffin: important to the characters (at least for a while) and driving their initial actions, but pretty much unimportant to the audience (at least eventually).

Antonioni was a master filmmaker, and this IMO was his masterwork.

[Ray Jackson]

Originally Posted by AaronJ

That review excerpt pretty much nails why it is such a great picture. It also nails why "What happened to Anna?" isn't really an unanswered question as it is an irrelevant one. Essentially, Anna is this story's MacGuffin: important to the characters (at least for a while) and driving their initial actions, but pretty much unimportant to the audience (at least eventually).

Antonioni was a master filmmaker, and this IMO was his masterwork.

Irrelevant?

...to the plot perhaps.

But I for one would like to know what the hell happened to her.

I didn't like her at all, stuck-up lying b*tch, so it makes me happy to think that she swam away from the island and got eaten by a shark.

...it's what I want to believe.

[Ray Jackson]

"Antonioni was a master filmmaker, and this IMO was his masterwork."

La Notte is better imo.

[Packerfan75]

-What's in Marcellus Wallace' brief case?
I know the theories but there's no official confirmation.
-Did Anton kill Carla in No Country for Old Men?
The film only makes a suggestion.
-Inception. The spinning top. Nuff said.
-The Shining. The old picture with Jack in it at the end. ???