Yet, destiny—as the title of his 1992 film suggests—is often obstinate. Against all medical odds and the skepticism of the film industry, Antonioni returned to the director’s chair. The result was Ostinato Destino , a film that stands as a testament to the sheer will of an artist. Often overshadowed by the sentimental circus surrounding his later film, Beyond the Clouds (1995), Ostinato Destino remains a deep, enigmatic, and deeply personal entry in the director's filmography—a movie that is less about a narrative twist and more about the director’s own grappling with identity, aging, and the elusive nature of the self.
The art style was a gritty chiaroscuro, reminiscent of Bill Sienkiewicz crossed with Italian neorealist cinema. Issue #2 ended with the wanderer staring at a calendar pinned to a corkboard: the page reads — no end date. Readers who wrote to the publisher asking for Issue #3 received a postcard reading: "Il destino non ha capitoli. Solo ritornelli." ("Fate has no chapters. Only refrains.") Ostinato Destino 1992-
The story centers on the wealthy matriarch (played by Lauretta Masiero) and her three unfulfilled, greedy children: Marcello (Alessandro Gassman): A lazy playboy. Lucrezia (Angela Finocchiaro): A bossy TV producer. Cesare (Gustavo Frigerio): A malicious sociologist. Yet, destiny—as the title of his 1992 film
The film is significant for being one of Monica Bellucci's early leading roles. She plays twins: Marina, a cold and calculated woman, and Angela, her more vulnerable sister. This dual role serves as the film’s moral compass and its primary source of tension. Through Bellucci’s characters, the film explores the theme of identity—how the Rambaldi brothers view women not as partners, but as tools to secure their mother’s wealth. Bellucci’s performance, while still early in her career, hints at the screen presence that would later make her an international icon. Themes of Greed and Fate Often overshadowed by the sentimental circus surrounding his