So was he just a schizo?

The greatest film about our hyperreal worlds much before the fact. Antonioni starts to paint reality up to make it more 'real' from Red Desert onwards to emphasize a world in need of artificial color to feel real in a dull depressive world. Eros is sick, he says, and he launches a prophetic cinematic journey where he predicts things such as shooting in front of green screens, the digital eye fixated on singular spectacular objects since the social no longer exists and so on. With the mummers sequence at the end of the film we are in an oceanic universe, in the feel of touchpad technologies. All of Conceptual Art of the 1960s and the 70s can be found here. But in terms of cinema history, as Thomas gives up his project of a photobook on working class lives to shoot swinging counterculture London, Antonioni too gives up Neo-Realism to shoot a new Reality. More Baudrillard than Bazin. More IBM than MGM. The last sequence where 'Peeping' Thomas evaporates from the greener-than-green grass to Herbie Hancock's jazzy score points towards an electronic world of made-up nature and our nervous systems hidden in the foliage, anxious and sniping at the world.