The film made a clear plan for urban space and gender. His wife Lydia has a close emotional connection with the pre-modern suburbs. Lydia is a symbol of "classic". The husband, Giovanni, is a representative who actively faces the "modern situation" and the "desire in the modern situation". The ending of the film is the firm rejection of the "classic" against the "modern" that shows love again. Between Lydia and Giovanni, a "third party" is set up at the beginning and end of the film. These two "third parties" are "new" women who are influenced by the "modern space". Detention, but with a rebellious desire, but in the imprisonment systemthey are also powerless.
In "La Notte", M. Antonioni emphasized the isomorphism and harmony between Lydia and the "new" woman. The space where women and women are located is calm and harmonious. Only after men intervene, this space begins to be turbulent. As a fragmentation of space, the wall plays an obvious supporting role for all these women's desiresin "La Notte", supporting and suppressing desires in the space
.
