Key critical accounts on Michelangelo Antonioni's career continue to be carried out within various disciplines, spanning film studies, art history and cultural studies. While much critical recognition is directed towards his great 'moments' of the 1960s and 1970s, current literature shows limitations in thoroughly addressing his 1980s body of work. This dissertation aims at uncovering the significance of this underestimated period, and tracing new perspectives on it, re-orienting the gaze towards Antonioni's crossdisciplinary work and experimental approach. The core of this study expands the director's undisputed image as auteur to acknowledge him as a multimedia artist, in light of his ways of appropriating multiple creative mediums and his longstanding painting practice. Collectively, Antonioni's multimedia output, from Le montagne incantate (1979-1983) to Roma (1990), plays on a repetition of previous themes and preoccupations, but does so across the heterogeneous cultural ecosystems of cinema, visual arts, music video and advertising. This study considers such body of work a turning point in the director's career, by recognising his interdisciplinary approach to the art practice, and a pioneering personality that guided his aesthetic journey towards an abstraction of colour and form. This dissertation is structured into six chapters; after an initial examination of Antonioni's use of colour and space, each chapter focuses on a new professional step within the decade, as with Le montagne incantate, Il mistero di Oberwald, Identificazione di una donna, Renault 9 and Fotoromanza, Ritorno a Lisca Bianca and Roma. The analysis of each case study is performed through three dialoguing perspectives, namely thematic, interdisciplinary and inter-textual. From such scrutiny, the works of the 1980s emerge as a truly exciting moment, a lively coexistence of multiple experimental experiences and directions that eventually led to Antonioni's final artistic exploration in the 1990s and 2000s.