“Perhaps because so many of his movies are nominal thrillers, […] Antonioni is sometimes seen as an anti-Hitchcock. […] Released the same year, Psycho and L’Avventura both confounded audiences by doing away, mid-movie, with their leading ladies. L’Avventura also shares with Vertigo a mesmerizing pace, an overwhelming sense of immanence, and a purposefully enigmatic causality. L’Eclisse rivals The Birds as an absurdist disaster film; Blow-Up elaborates on Rear Window; The Passenger could be a deadpan travesty of North by Northwest.” J. Hoberman on Michelangelo Antonioni.