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11,084 Ratings



United Kingdom, United States, 1966
Drama, Mystery, Thriller


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 Directed by Michelangelo Antonioni

Awards & Festivals

Cannes Film Festival

1967 | Winner: Palme d'Or

2017 | Cannes Classics

Academy Awards

1967 | 2 nominations including: 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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What are people saying?

  • Warren Spratley's rating of the film Blow-Up

    Revisit 3: Yes, amid so much meaninglessness--never an exclusively dismal nihility, but rather one often full of a puzzling sense of jubilance--there's nonetheless an immense deal of energy, spontaneity & diversion: an aggressive, somewhat cruel threesome, an impulsive purchase of a propeller, outbursts of erratic, childish behavior. But when the failure of purpose becomes altogether palpable, what's left is anguish.

  • Jason's rating of the film Blow-Up

    Though he was already inarguably a giant of world cinema, one must concede that Antonioni made a discernible leap w/ BLOW-UP, and not just out of Italy or into the realm of the "popular." This is a movement from the implicitly metaphysical to the explicitly metaphysical. This is a leap into puzzle-logic and high-minded world-modeling. There is also the epistemological register: you blow things up and you get blur.

  • Jérémy Poirier's rating of the film Blow-Up

    An interesting and stylish look into the world of a fashion photographer and his obsession for his work. Though I didn't love this film as much as I had expected, Antonioni's mise en scène is definitely worthwhile. There are some moments of roaring silence which draws emphasis on the main character's alienation.

  • Henri de Corinth's rating of the film Blow-Up

    Rewatch of a semicentennial print after about 15 years. In college I thought this was brilliant thematically (reality is perception, can we trust images, blah blah blah); today it still works even if it seems a little on the nose. The rest is a distraction. A good 25-minute film about a guy who might have photographed a murder padded out with 86 minutes of pointless subplots/counterculture scenes. Good but not great.

  • Nicole Richie's rating of the film Blow-Up

    I think it has a great stylization and I loved the shots made in the car. The theme of the transference of alienation to an obsession with a photograph it's really good, and I was a lot creeped out by the "non-shape" of the amplified image. But this is not at all the Antonioni I fell in love with.

  • Michael H. CLAES's rating of the film Blow-Up

    More than one film in this movie, and more than one way to see it. A masterpiece. === Plus d'un film dans ce film et plus d'une façon de le voir. Un chef-d'œuvre.

  • ig_____or's rating of the film Blow-Up

    I think I'm condemned to this feeling of disappointment whenever I finish an Antonioni film. Yet again, in "Blow-up", we get some stunningly beautiful scenes (like the photoshoots in the studio and the park, and the imaginary game on the tennis court) but an overall impression that the film is being dragged towards its end without any sort of resolution or closure whatsoever. It's like there's a second part missing.

  • Wee Hunk's rating of the film Blow-Up

    Antonioni could make masterpieces like this, or complete disasters like 'Zabriskie Point', because he didn't care that much about actors. "Actors are like cows. You have to lead them through a fence." The really successful ones had great actors who shone through despite the limitations. I cannot heap enough praise on Vanessa Redgrave. I can watch this one over and over.

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