Apparently Bird with the Crystal Plumage takes cues from the Antonioni too, but I haven't seen that one yet.
Banger. Really enjoyed it. It isn't quite the same thing as the other three, but there's a similar theme of looking and whether what you think you're seeing is really what you're seeing. I'm tempted to go back to the beginning and see whether what's revealed at the end is actually visible or whether it's shot in such a way that you can't really tell.
It's nothing to do with the thread, but I always seem to enjoy it when a police chief in a film has a bit of personality and some sort of back and forth or rapport with the protagonist, e.g. Claude Rains in
Casablanca or Trevor Howard in
The Third Man, and there's a similar dynamic in Bird With the Crystal Plumage. The policeman starts off quite cold and professional then gradually warms to the American and seems to just let him do his own investigation, even comes round and ends up having a coffee. Stark contrast to the really weird one in
Don't Look Now whom I felt not only suspected Sutherland of something, but was perhaps in on the whole thing himself.