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Michelangelo Antonioni moved out of Italy to shoot Blow-Up in swinging London in the mid 1960s. The result? A tale of an domineering photographer obsessed with what he photographed.

One of the most lauded movies ever, Blow-Up is reviewed and analyzed in this video, which shows the importance of the first and last shots. Like its predecessors, Rear Window and Peeping Tom, Blow-Up criticizes artists who use images and viewers who want only certain elements in those images. What the photographer finds in Blow-Up leads him to question what his business in life really is. This is the analysis from which the video proceeds.

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