The second essay follows the path of the relation
between saturation and emptiness by making an inventory of saturated motifs: the sky, the
explosion as well as different forms of vacuum: the wandering, neutralization of the place,
anonymity of the subject, emptiness of the space, inform, anguish, breakdown, instability,
boredom, indifference… Bonfand shows that in Antonioni’s cinema the vacuum works as
an autonomous and omnipresent force which disintegrates the system of representation
of the films until saturating the image in return.