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 ... See full summary »
Cold, rain, and fog surround a plant in Ravenna. Factory waste pollutes local lakes; hulking anonymous ships pass or dock and raise quarantine flags. Guiliana, a housewife married to the ... See full summary »
A hunted man breaks into the castle at Oberwald to kill the Queen, but faints before doing so. He is Sebastian, the splitting image of the King who was assassinated on his wedding day. The ... See full summary »
The movie director Niccolo has just been left by his wife. This gives him the idea of making a movie about women's relationships. He starts to search for a woman who can play the leading ... See full summary »
A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. Then he meets a mysterious beauty, and also notices something frightfully suspicious on one of his photographs of her taken in a park. The fact that he may have photographed a murder does not occur to him until he studies and then blows up his negatives, uncovering details, blowing up smaller and smaller elements, and finally putting the puzzle together. Written by
Thomas' workhorse camera was the then innovative Nikon F, the world's first 35mm SLR with full coupling of shutter and aperture with its exposure meter. Even though the particular model had been around since 1959, the glamorous publicity it received in the movie generated an unprecedented enthusiasm among camera buffs, professionals and amateurs alike. See more »
The hawthorn is in bloom in the park one day and entirely missing the following morning, though still in full leaf. It is clear that the second "day" was filmed in midsummer, some weeks after the first. See more »
Give me your money. Do it.
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If you believe that the ending makes the movie, Blowup is for you. The first 30 minutes seem aimless and wandering, but they set up the main character and what is he is to discover about himself, about his occupation and about art in general. Antonioni builds tension (or frustration as you're watching it) not with plot, but with anti-plot. You want to scream at David Hemmings's character to: focus! screw those models! do something! But as the film unfolds you will see why Antonioni chose this actor, this profession and those girls. A wonderful manifesto about the dangers of voyeurism and what it does to a man's sexuality that is 40 years ahead of its time. The symbolism might get heavy handed at times (mimes, a broken guitar), but the sets are so full of creativity and the actors so beautiful (this will give my age away, but Vanessa Redgrave, who knew?) that you forgive Antonioni (he's Italian after all). Hemmings is Hugh Grant before Hugh Grant, but in this role at least, much more interesting. He's highly sexual, but unlike his painter roommate, his chosen art form represses him, all in the name of the shot. And when he finally gets the perfect shot in the perfect light, it's so perfect that someone steals it, and for good reason. Did those events actually take place or just through his camera lens? When the photos are the proof of what you see, then when that proof is taken away, did you see?
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