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“... Still, no reader of signs can resist a coincidence, the image of a meaning that can’t be there. Michelangelo Antonioni (born 1912) and Ingmar Bergman (born 1918) both died on 30 July 2007 – as if time, otherwise indifferent to plot and meaning, had something to say about the cinema. But time, it turns out, seemed to say one thing and meant ...”

“... I’ve​ gone off London this week,’ the central character announces in Antonioni’s Blow-Up (1966), released in a new digital transfer by the Criterion Collection. A local antique dealer wants to get away, to Nepal maybe. When told that Nepal is all antiques, she says she thinks she’ll try Morocco. The film itself doesn’t seem to share these moods at all, it can’t get enough of the 1960s city, with its alleyways, shops, arcades, old red phone booths, a pot-smoking party in Chelsea and a club performance by the Yardbirds that is so authentic it looks like a flimsy parody of itself ...”

“... spent his days barefoot. At an anti-draft meeting he was spotted by a casting director working for Michelangelo Antonioni, who was about to start shooting Zabriskie Point, which was partly about the unrest on California’s campuses. Antonioni decided that Garaway would be perfect as one of his radicals: he was so ...”

“... Aeneid VI.’ In Yeats’s ‘Long-Legged Fly’ mastery is possible – Caesar, Helen of Troy, Michelangelo – because the mind can accept its conditions by sequestering itself within them: Like a long-legged fly upon the stream His mind moves upon silence. As for Aeneid VI, I assume that Harrison has in mind Aeneas’s meeting at last with his ...”