Literally arranging art objects in a frame as the film opens, Monica Vitti tacitly calls attention to the ever-shifting frames of meaning within Antonioni’s entire, expansive cinematic space, reminding us of the inextricability of narrative and character within his cinema. Frequently framed or obstructed by the structures of modern architecture, wandering Vitti and a dashing Alain Delon manage to unite intermittently via a tentative affair. Like the mesmerizing dance of the stock market where he works, Delon’s handsome charms are mere distractions from a disturbingly cold opportunism, one of many indirect challenges within Antonioni’s formal, yet expressive composition in which the natural and the synthetic, the economic and the emotional attempt—as his film does—to create new, modern shapes which take increasingly abstract configurations. This inversion culminates in a stunning ending which retroactively reframes the entire film, throwing the world on and off screen into sharp, negative relief.