Point: No physical performance.
Amplification (1966) has been warmly interpreted by film critics and film lovers since its release because of its profound philosophical thinking and obscure implication.
Truth and emptiness. Movies are best at blurring the boundaries between reality and fiction, but antonioni doesn't seem satisfied with simply blurring things. Instead, it is necessary to break up "what is real and what is fiction" and constantly explore the separation and integration of these two States. For example, he clearly saw guns and bodies through constantly enlarged photos. When photographer Thomas found that the negatives and photos were lost, nothing seemed to have happened.
Not only the off-screen audience are worried about Thomas, but Thomas is also looking for evidence, calling friends, stalking mysterious women and so on. It's just that these are all in vain, and no evidence is zero. Antonioni used a realistic story to express the fictional form. This way of "you always have me and I have you" is a bit of an artistic conception of "yin has yang and yang has yin".
What's the coincidence? The film is true to the audience and Thomas, but others don't believe it. Thomas' sense of powerlessness and nothingness caters to the existentialist argument, and this film has an extra turning point and subtlety by directly expressing nothingness. So what is magnified? Is the infinite upgrade of machines causing the alienation of people? Do we no longer have poetry and distance, but immerse ourselves in a small world where seeing is believing? Or are we no longer in awe, but we want more than we can fill? Different people will have different answers.
No physical manifestations. Just as Thomas became an angry rock youth with doubts (there are many such symbolic passages in the movie, so you might as well experience the significance of the master's creation yourself), he joined the clown's immaterial movement. This passage is also a classic passage in film history (antonioni prefers to add material at the end). Thomas hasn't figured out the doubts before, but he is even more confused in the face of a nonexistent tennis ball.
When Thomas wandered around the park looking for inspiration, he really felt that "life is not on the way to encounter problems, but on the way to solve doubts". Perhaps doubt itself is a process of solving doubt, and this invisible performance just answers Thomas' question, and nothingness and existence are interdependent.
Decentralization. Watching Thomas wander around in antonioni's lens, measuring the scale of life with his legs. The stories that happened around them were random, and there was no continuity between the plots. For example, Thomas didn't go to the park. He didn't meet a mysterious woman. Thomas doesn't fight with two female models, so he can't find the doubt of the mysterious woman's sight; Thomas doesn't follow mysterious women, he doesn't smash guitars, he doesn't see clowns ... Everything is arranged in the dark, and everything shows randomness, which is a rebellion against the continuity and causality of traditional narrative.