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10.738 Avaliações

Blow-Up - Depois Daquele Beijo


Dirigido por Michelangelo Antonioni
Reino Unido, Estados Unidos, 1966
Drama, Mistério, Suspense


A London fashion photographer, out on a stroll, takes some casual shots of people in a park. When he blows up his prints he realizes he’s stumbled upon a murder. He begins to pursue the intriguing mystery that haunts him, with answers and the truth just out of reach…

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Blow-Up - Depois Daquele Beijo Dirigido por Michelangelo Antonioni

Premiações e Festivais

Cannes Film Festival

1967 | Vencedor: Palme d'Or

2017 | Cannes Classics

Academy Awards

1967 | 2 nomeações, incluindo: Best Director

Michelangelo Antonioni’s Blow-Up has pretty much the greatest, most legendary fuck-you ending in all of cinema history: an imaginary tennis match between two mimes to conclude an oblique murder mystery. Somehow, it’s also an ideal finale to this most hypnotic parable of alienation — and a perfect example of Antonioni’s practically supernatural control of framing and mood.
July 26, 2017
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It’s moving and influential for the chasms it understands to exist between people, and for its perception of art as unable to bridge those divides. But the film is also weirdly idealistic, as art, for all its pitfalls, does awaken Thomas from his ignorant slumber. The possible murder in the park fulfills the intended function of modernism, highlighting the invisible constructions and frailties of society.
March 30, 2017
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The film is strikingly original because it puts the two technologies of still photography and the cinema, and the formats of black and white and color, into dialogue with one another. As the photographer arranges the enlargements on his studio wall, the movie camera follows the movement of his eyes from one to another, “animating” the separate black-and-white images into a narrative sequence, like a film storyboard.
March 28, 2017
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