Michelangelo Antonioni is considered by many the first example of modernity in cinema. It’s not just a scene here and there like in some Rosellini’s 50s films or like in the first movies of the french Nouvelle Vague, no, Antonioni represents modernity to its full extent in every single scene of any of his movies. At least, that’s what they say.
Well, Blow-Up is not one of his first films but an effort in the middle of the 60s and his first English-spoken film. Using as a basis a Julio Cortazar short story, Antonioni develops a full story around the world of photography in a colorful yet sad London. Times of contrast, between the new pop culture and the always sad reality behind it, are perfectly represented in this movie where the main protagonist resists to loose focus on that reality. Because people can vary its points of views on the reality, missing what is actually happening in their contemporary times, but the camera never misses the point. That’s the important factor to remember when following the steps of the main character, a photographer in between two fronts: the social reality and the fashioned and stylized reality magazines and trends try to portrait.
Miscommunication can only be avoided by not speaking nor listening.