Blowup

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In the late '60s, Antonioni's movies — already abstract and philosophical — became even more so.

"They're trying to talk more about the meaning of vision," Brunette says, "what it means to see the visual world — how do we understand it, how do we see reality through visuality and through vision."

The most accessible example of Antonioni's vision may be the 1966 movie Blow-Up, about an amoral photographer blithely swinging through London. David Hemmings' protagonist snaps a series of voyeuristic pictures in a public park, outraging a woman who's caught unawares in his lens — and upon developing his film, he comes to believe he's inadvertently documented a murder.

"But as he blows up the pictures more and more and more," Brunette explains, "he sees less and less and less."

That's the kind of conundrum Antonioni cherished — how reality is called into question in what we see and what we don't. [1]

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