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All films (unless noted) have been digitally restored by Luce Cinecittà, Cineteca di Bologna and Cine teca Nazionale.ġ.
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#FEDERICO FELLINI YOUNG SERIES#
In a fervent attempt to escape madness in a red Ferrari, he descends into his own personal hell.įederico Fellini 100 is part of the Federico Fellini 100 Tour, a series of centennial tributes to Federico Fellini (1920–1993), which will travel to major museums and film institutions worldwide, coordinated by Paola Ruggiero and Camilla Cormanni from Luce Cinecittà. Arriving in Rome to make a Catholic Spaghetti Western, a dissolute English film star is sucked into a swirling vortex of deceits, illusions and selfloathing, recurrently haunted by the Devil in the guise of a pale girl. Inspired by an Edgar Allan Poe’s story, Fellini compounded the macabre master’s gothic horror with his visual frenzy of sumptuous debauchery and colorful flourishes. Through his clumsy quixotic battle, the director made a searing denunciation of hypocrisy, and seemingly a sardonic retribution to the Catholic’s condemnation of La Dolce Vita.Ĭannes Film Festival: Opening Film Spirits of the Dead (segment: Toby Dammit) Antonio, an unbending puritan, driven berserk when the enchanting, provocative Anita Ekberg featured on a giant advertising billboard comes to life and divulges his hidden desires.
#FEDERICO FELLINI YOUNG FREE#
“Recapturing the free spirit of Boccaccio, Fellini touched upon the ludicrous aspect of moralizing campaigns in this satirical comedy. Boccaccio ’70 (segment: The Temptations of Dr. Wandering through a labyrinthine building in tour-de-force shots of odd bustling people, Fellini’s camera sketches a vivid yet surrealistic portrait of urbanites in the vicissitudes of life. But even 100 years after his birth, his work still seems both fresh and contemporary, offering new elements to discover with each screening.Love in the City (segment: Marriage Agency)Ī delightful contribution to the cinematic exploration conceived by neorealist Cesare Zavattini on creating a “journal” of romance in postwar Italy, Fellini’s fancy-tinged satire is an affectionate contrivance about a young reporter on an assignment to investigate matrimonial agency, struck by a pure country girl struggling to escape from poverty. When Fellini died in the autumn of 1993, it was an event of national importance that stirred the entire country: Italy had lost its probably greatest film director, the world of cinema one of its most popular filmmakers. He always refused Rimini and Rome were enough for him, especially because he found the best work surroundings in Cinecittà Studios in Rome. Hollywood rolled out the red carpet for Fellini several times, inviting him to shoot in the US. Hardly any other director from a non-English-speaking country has been able to garner so many Oscars. One could call it a Fellini family, a community firmly rooted in Italy, but which told stories that fascinated the whole world. He relied on a few outstanding cameramen, and his composer Nino Rota became a world star by working with him. He provided the greatest roles for his wife Giulietta Masina and his alter ego Marcello Mastroianni. The fact that he often worked with the same people contributed to this. Idlers, strays and petty criminals populate his films, just as prostitutes, saints, mothers and outcasts do. Larger-than-life women, or men searching for the meaning of life: Fellini put them in the spotlight.ĭonald Sutherland as Fellini's 'Casanova' The circus, minstrels, magic and enchantment: The fairground environment became one of his trademarks.įellini's films celebrate nostalgia and a yearning for the joys of childhood. This became evident with La Strada, Fellini's first world success. With La Strada, Fellini brought poetry to dreary everyday life But unlike his fellow countrymen who remained true to neo-realism, Fellini quickly added fantasy and fairytale, poetic and playful elements to his cinematic cosmos. His first films were in black-and-white, had a hard realistic core, and focused on figures on the fringes of society. One masterpiece after the other then followed. The White Sheik (1952) was the first film he directed alone. A famous Fellini scene: Anita Ekberg in Rome's Trevi Fountain in 'La Dolce Vita'įive years later, Fellini made his first film, together with director Alberto Lattuada: Variety Lights.