Like his Swedish contemporary Bergman, Michelangelo Antonioni helped to shape a new language of cinema, of emotional alienation that was conveyed through both performance and mise en scene. I’ve struggled to figure out why Bergman’s films seemed aloof while Antonioni’s affected me deeply, though both certainly attained their fair share of iconic imagery. Antonioni’s most outrageous and debated set pieces, such as the tennis match in Blow-Up and the exploding of capitalism in Zabriskie Point, are still impossible to forget.

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