('Shot/Reverse angle shot. From the classic approach to the universe of Michelangelo Antonioni')

In 1945, Alfred Hitchcock evoked, in his eighth movie shot in the United States (the 24th of his sound era), Spellbound, one of the clearest, meaningful formulations of the passionate act in his career. The sequence in question belongs to the moment when doctor Constance Petersen (portrayed by Ingrid Bergman) decides to visit the newly arrived doctor Edwardes (Gregory Peck) in his room. This itinerary is narrated with a ravishing simplicity —the itinerary that drives the main character to overcome, just in a few moments, all the emotional tension produced by the attraction that both characters have been bound to since their first meeting.

Hitchcock breathes life into this emotional journey through a rich visual device where elements configure, almost mathematically, the plurality of dimensions in a lyrical universe where all lines converge into one point: portraying passion. This book analyzes the evolution of this device from the classical cinema that the author of Vertigo represents, to the work of one of the most radical filmmakers in history, Michelangelo Antonioni. Its starting point is simple: passion is cinema's essence itself. A passion transmitted through a powerful, immense weave of glances, movement and gesture that create many processes of knowledge, a passion that is constantly created inside the stories narrated by films. And, strangely enough very close to it, lays the passion that has moved millions of spectators from the 20th century to go to movie theaters in order to be immersed in that mesmerizing experience that consists in watching how a foundational gaze-crossing is born on its never-ending, manifold plurality. Because ultimately, the truth is —and one of this book's goals is to prove it— that, however hidden, passion beats behind every filmic image.