The films that make cinematic art great #40 Body Double Murder Scene the quintessential and definitive film by De Palma, contains everything related to it in a theoretical/meta-cinematic form. It remakes Rear Window and Vertigo, mainly discussing duality and voyeurism, fiction, appearance, and the deceitful nature of the cinematic image from the brilliant opening credits. Nothing is ever what it seems, and everything conceals something different from what is initially shown. In this sense, the famous De Palma maxim "the camera lies continuously, lies twenty-four times a second" finds its utmost expression in this film. But De Palma's metacinema doesn’t get lost in intellectualism à la nouvelle vague; rather, it beautifully condenses theoretical aspects with pure entertainment. A delight, and one of the iconic films of the '80s.