The first European art film to enjoy mass popularity, Antonioni’s mod London romp/metaphysical conundrum exploded commercially and critically—its graphic after-effects still felt today in both pop culture and high art. David Hemmings’ iconic photographer divides his work into authentic art and vapid economic necessity, yet his egotistical objectification of reality and blasé ownership of the image tests the limits of such simplistic divisions. While endlessly distracted by the frivolity and sensual diversions of the ‘60s, the detached artist confronts a perverse fantasy of the photographer: uncovering an actual crime through his art. However, the “real” exposé lies within the essential problems of perception and representation. While discretely removing characters and “facts” one by one, Antonioni throws the resolution to this veritable thriller audaciously into the viewer’s court. – Brittany Gravely