The picture that evokes several meanings in Roberto’s mind becomes an obsession. Roberto becomes confused, he said, “Nobody really knows who is telling it, if I am I or what actually occurred or what Im seeing... or if, simply Im telling a truth which is only my truth” (Liukkonen). Cortazar’s ‘Las Babas Del Diablo’ discovers the uncertain difference between realism and its representation, illustrating to his readers that the two are merely the mind’s perception of the experience (Coupe).
The 1966 movie ‘Blow Up’ by Michelangelo Antonioni, stirred worldwide curiosity when shocking sex scenes and smoking-pot vistas were featured (Waldman). The successful movie creatively questions reality and imagination. Thomas (David
Hemmings) blows up the photo of the lady (Vanessa Redgrave) and the middle-aged lover in the park and finally discovers or perceives that the lover was actually lying dead on the ground and not so far away was a man in the shadows, holding a gun. Thomas believes that he actually witnessed a murder. He is able to expose pieces of reality, however, he resists searching for the truth (Waldman).
Antonioni made it clear in this film that reality is non-existent if perceived objectively. Viewers have to find out for themselves the strength of their personal understanding of the film. The movie ends with scenes wherein Thomas chooses to be with the team illusionists instead of lingering in his secluded reality (Jardine).
The extensive gap between the movie and the short story ranges from the theme, the setting, the protagonist’s profession, to the message (Huddleston). Cortazar’s story which happens in Paris, tags on phantasm and passion, whereas Antonioni’s film which takes place in London, speaks of the superficial façade versus realism and build around it a puzzling story of murder which is left unsolved and open to the