The second essay follows the path of the relation between saturation and emptiness by making an inventory of saturated motifs: the sky, the explosion as well as different forms of vacuum: the wandering, neutralization of the place, anonymity of the subject, emptiness of the space, inform, anguish, breakdown, instability, boredom, indifference Bonfand shows that in Antonioni’s cinema the vacuum works as an autonomous and omnipresent force which disintegrates the system of representation of the films until saturating the image in return. Antonioni invents a phenomenality of emptiness that becomes a true saturated phenomenon. Nevertheless, these chapters are probably.
