When Antonioni told painter and personal friend Mark Rothko that his pictures were, like his own films, "about nothing, with precision" (in Chatman 1985: 54), he hit the right chord: the ultimate aim of his filmmaking is to show how visual representation hinges on a short-circuit between what we see and what we do not see, what we look at and what is already looking back at us. In this section I focus on this short-circuit, or dislocation, discussing a number of female characters whose desire pushes them to flirt with the void of the cinematic image.