Vintage Poster
Blow Up
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With our Blow Up Poster, discover all the visual and emotional intensity of the film through our captivating visuals. Immerse yourself in the mysterious and exciting world of this iconic cinematic masterpiece, where reality and illusion intertwine in an obsessive quest for truth. Explore the thrilling emotions, striking aesthetics and memorable performances of this iconic film that marked cinema history. Get your 'Blow Up' poster now and let yourself be carried away by an unforgettable cinematic experience.
- Paper characteristic:
- 🎨 Canvas: world standard in terms of printing and imitating a “painting canvas” appearance .
- By default, the poster contains a 4 cm white border for framing (frame not included). If you don't want it, please choose "without white border".
- ✅ Size: several choices available . ✅
- Great UV resistance .
- Maximum color vibrancy, without reflections .
- Recycled paper, guaranteeing respect for the environment.
- Poster carefully packaged and delivered in a protective tube for total protection .
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FREE STANDARD DELIVERY .
⚠️ Frame not included. ⚠️
Description of this Blow Up Poster
Blow-Up (sometimes called Blowup or Blow Up) is a 1966 mystery thriller film directed by Michelangelo Antonioni and produced by Carlo Ponti. It was Antonioni's first entirely English-language film which stars David Hemmings alongside Vanessa Redgrave and Sarah Miles. Also featured is the Veruschka model from the 1960s. The film's plot was inspired by Julio Cortázar's short story "Las babas del diablo" (1959).
The story is set in the mod subculture of 1960s Swinging London and follows a fashion photographer (Hemmings) who believes he has unwittingly captured a murder on film. The screenplay was directed by Antonioni and Tonino Guerra, with English dialogue by British playwright Edward Bond. The cinematographer was Carlo di Palma. The film's non-diegetic music was scored by jazz pianist Herbie Hancock, while rock band Yardbirds is also featured.
In the main competition section of the Cannes Film Festival, Blow-Up won the Palme d'Or, the festival's highest honor. The American release of the counterculture-era film with its explicit sexual content was in direct defiance of the Hollywood Production Code. Its subsequent critical and box office success influenced the abandonment of the code in 1968 in favor of the MPAA film rating system.
Blow-Up would inspire subsequent films, including Francis Ford Coppola's The Conversation (1974) and Brian De Palma's Blow Out (1981). In 2012, Blow-Up was ranked no. 144 in Sight & Sound's critics' poll of the world's greatest films.
After spending the night in a bib house, where he took photos for a book of art photographs, photographer Thomas is late for a photo shoot with model Veruschka in his studio, which makes him return to his late turn for a session with other models later in the morning. He gets bored and leaves, leaving the models and production staff in trouble. As they leave the studio, two aspiring teenage girls ask to speak to him, but Thomas leaves to visit her at an antique store.
Wandering through Maryon Park, Thomas takes photos of two lovers. The woman, Jane, is furious at being photographed and chases Thomas, demands his film and eventually tries to snatch the camera from him. He refuses and photographs her as she flees into a meadow. Thomas then meets his agent Ron for lunch and notices a man following him and looking into his car. Back at her studio, Jane arrives, desperately asking for the film. She and Thomas have a conversation and flirt, but he deliberately hands her a different roll of film. She, in turn, writes down a fake phone number and gives it to him.
Thomas, curious, takes several zooms of the black and white film of Jane and her lover. They reveal Jane staring at a third person lurking in the trees with a gun. Thomas excitedly calls Ron, claiming that his impromptu photo shoot may have saved a man's life. Thomas is disturbed by a knock at the door, and it's the two girls again, with whom he gets fucked in his workshop and falls asleep. Awakening, he finds that they are hoping that he will photograph them, but he realizes that there may be more to the photographs of the park. He tells them to leave, saying, "Tomorrow! Tomorrow!"
A closer look at a blurred figure under a bush makes Thomas suspect that the man in the park may have been murdered after all, during the time Thomas was arguing with the woman around the corner.
As evening falls, the photographer returns to the park and finds the man's body, but he has not brought his camera and is frightened by the sound of a twig breaking, like walking. Thomas returns to find his studio ransacked. All negatives and prints are gone except for a very grainy explosion of what may be the body.
After driving into town, he sees the woman and follows her to a club where the Yardbirds, with Jimmy Page and Jeff Beck on guitar and Keith Relf on vocals, are seen performing the song "Stroll On". A buzz in Beck's amplifier makes him so angry, he breaks his guitar on stage, then throws his neck into the crowd. A riot ensues. The photographer grabs the neck and runs away from the club before anyone can snatch it from him. Then he thinks about it, throws it on the sidewalk and walks away. A passerby grabs the neck and throws it back, not realizing it came from Beck's guitar. Thomas never locates the elusive woman.
At a drugged party in a house on the Thames near central London, the photographer finds Veruschka, who had told her she was going to Paris; face, she says she is in Paris. Thomas asks Ron to come to the park as a witness, but cannot convince him of what happened because Ron is very stoned. Instead, Thomas joins the party and wakes up in the house as the sun rises. He returns to the park alone, only to find that the body is gone.
Famously, Thomas watches a mime troupe play a tennis match, is drawn to it, after a bit, picks up the imaginary ball and brings it back to the two players. As he watches the mime, the sound of the ball being played is heard and his image fades, leaving only grass at the end of the film.
