well, the photo it’s from la signora senza camelie (1953), the second antonionis feature film, while il misterio di oberwald (1981) is corresponds to his 14th full-length film… by the way is his only incursion with video and his postproduction manipulation of color, and the only coming back of monica vitti to his films after il deserto rosso. like vomar says, critics talk about a fly on that gorgeous and stylish life work…
