After all these years, Antonioni's Blow-up holds up well

After all these years and countless pop-culture references, Antonioni's "Blow-up" holds up very well, and not just as a cultural artifact, though it is that - in fact it was a a cultural artifact even in its own time, as people watched it to get a glimpse of the swinging, artistic London scene of the 60s, seems a million years ago, Pleistocene, you could drive around London in an open Rolls Royce and find parking on the street, anywhere (at least in this movie) - but as a beautiful and well-crafted story of alienation and mystery. I encourage anyone to compare this story about a commercial artist (photographer) so alienated from life and emotions and feelings and sexual drive that he is callous to everyone and experiences life, to the extent that he does at all, only through his lens, with the recent and entirely drab and unimaginative Somewhere - well, there's no comparison. Not that this film is truly about personality - we learn and know nothing about the background or back story of any character and I believe, I may be wrong, that only one character, the photographer's agent, even has a name - but it's about a certain style and mood that Antonioni captures perfectly, with his many unusual shot compositions, the strange pastoral scenes in the London park where a crime may or may not have been committed, the studio and apartment seemingly built of oddly juxtaposed angles and facets, the streets of London, what appears to be an industrial SE district, not yet populated by artists but ready for discovery - and most of all the central mystery, never truly resolved as to what the photog sees in his blown-up prints - with the ultimate meaning that it doesn't matter, it's not about a crime but about his life - and then of course the famous closing sequences of the mimes on the tennis court - what a beautiful film!