It's churlish to complain that Identification of a Woman isn't the equal of L'Avventura, La Notte, Red Desert, Blow Up, Zabriskie Point, or The Passenger. If it was, it would be a masterpiece of European art cinema. While it perhaps falls a little short of those Antonioni high points, it's nonetheless an intriguing and beautiful piece of work in its own right. The customary Antonioni themes - the elusiveness of desire, the fragility of identity, the mysteries of visual perspective, the unreliability of knowledge - are explored in typically elliptical and aleatory fashion, and lead towards a characteristically inconclusive but bafflingly moving ending. And along the way there are scenes that are the equal of Antonioni's best for mood, atmosphere and sheer cinematic creativity and skill. Niccolo and Mavi's drive into the fog is a scene of brilliant mystery and power. Their climb up the stairs of a swanky villa to an elite Roman soiree is an object lesson in how to use the camera and editing to generate a sense of foreboding and philosophical unease out of the simplest of materials. Niccolo and Ida's voyage out onto a Venetian lake is a gorgeous metaphor for their unfathomable relationship. And if anyone can tell me what that mysterious object in the tree - to which Antonioni keeps drawing us back - outside Niccolo's window is all about, I'd be grateful. The animated final scene of the film, which some viewers find a let-down, is brilliant - almost the equal in conception and weird appropriateness to the endings of Blow Up or Zabriskie Point. This is a film which improves with every viewing and ought to be embraced as the last significant work of a great master.