Michelangelo Antonioni's 1966 puzzle-box mystery "Blow-Up," loosely based on Julio Cortazar's short story "Las babas del diablo," is at once provocative and mystifying, dazzlingly immersive and utterly remarkable. David Hemmings stars as Thomas, a London-based photographer who stumbles upon clandestine lovers in Maryon Park. When he develops the photographs he took, he becomes convinced he has inadvertently captured a murder-in-progress and, perhaps, a dead body. Or did he? A mod-cool palindromic spectacle, folding in on itself while devising a conclusion leading one to reconsider all that has gone before, the film's apparent lack of a conventional solution proves to be Antonioni's solution all along. Like the very photographs Thomas blows up and pores over, images becoming pointillist black dots and atmospheric smudges the closer he gets to them, "Blow-Up" proves a greater enigma the more the viewer considers it—and all the more mesmerizing for it. This is a stunning work of art.