Search Results for: "Federico Fellini"

Ermanno Olmi’s first feature, Il Posto (1961), is often misrepresented as being a continuation of the tradition of neorealism. This highly influential postwar film movement, which produced such masterpieces as ...

This article argues that some of the strongest visual and symbolic elements that glue Roma together is the use of fluids as metaphors of racial and class division in 1970s Mexico, as well as the site in which t...

b. 4 September 1961, Neuilly-sur-Seine Filmography Further Reading “All of (Klapisch’s films) are solid mainstream entertainments with sprawling casts, intersecting storylines and a strong sense of pla...

A movie ticket with popcorn in Stockholm costs about 200 kroner, and if you pay cash you’ll notice that the 200 kroner bill features Ingmar Bergman’s handsome profile, alongside a smaller image of the director ...

Robert Philip Kolker has given us two very useful film books: The Altering Eye and A Cinema of Loneliness are excellent accounts of post-war European cinema (which take in other parts of the world too), and 197...

I fully admit to having trouble with nostalgia – in life, but especially on film. So searing is the “real” version, I find, it has to be at least partially repressed. Nostalgia’s screen portrayal, meanwhile, ne...

If asked about the film that has most affected me, then I want to answer with Godard’s Weekend (1967), Straub/Huillet’s Othon (1969), Bresson’s Pickpocket (1959), Pasolini’s Accatone (1960), Stroheim’s Greed (1...

ENTRIES IN PART 1: AFI Research Collection Antti Alanen Francisco Algarín Navarro Juan Carlos Ampie Michael J. Anderson Rowena Santos Aquino Sean Axmaker Martyn Bamber Mike Bartlett Nick Bartlett R...

ENTRIES IN PART 4: Daniel Kasman Christopher Kearney Ricardo Köhler Ehsan Khoshbakht Rainer Knepperges Adam Kuntavanish Eugenia Lai Elaine Lennon Raúl Liébana Liébana Kimberly Lindbergs Tara Loma...

Cannes, as we all know, is essentially a scandal-making machine. More than any other film festival, Cannes has had controversy baked into its DNA from the very beginning of its now 70-year history, and it somet...

By 2016 Bruno Dumont had directed nine feature films ranging from realist to experimental works. His major preoccupations in these movies were racism, religious fundamentalism, and questions of the sacred and t...

Pietro Germi’s satire of Sicilian machismo, Divorce Italian Style, unfolds within the stifling walls of a decaying palace in Agramonte, a town of “slow progress”. For the film’s protagonist, the impoverished ar...

Big Deal on Madonna Street is such a great, catchy, and memorable title that you would hate to lose it. It was the third (at least) tried out by the film’s English-language distributors after Persons Unknown an...

Print is dead, we’re told, though you wouldn’t know it at film festivals. We reach for paper programs by instinct and carry them from venue to venue, even as smartphones and barcode scanners come to dominate th...

Using the starting point of the MoMA retrospective of the works of Bruce LaBruce, this article confronts the shifting perceptions of LaBruce as a transgressive provocateur of cinema. I argue that his most recen...

Colin: Does that... mean anything to you? Warok: Are you the... the author of this amusing message? Colin: I'm the messenger. Warok: The messenger. I see. You see... I think that this is all a joke... of you...

It’s one of the great gags in film theory. Writing in 1969, Cahiers du cinéma editors Jean-Louis Comolli and Jean Narboni devise a seven-part critical typology of the cinema, based on the political or ideologic...

Rarely shown and never commercially released, Robert Benayoun’s six-hour mini-series Bonjour Mr. Lewis is as worth seeing as it is hard to find. This wide-ranging anthology of clips, interviews, and rarities wa...

The 45th International Film Festival Rotterdam (IFFR) took place under the new artistic directorship of Bero Beyer. As all new artistic directors so often do, Beyer put in place some changes to the program stru...

Oppressive heat shrouds an Algerian beach. A Frenchman, Arthur Meursault (Marcello Mastroianni), pauses at the foot of the stairs of the house at which he’s a guest. He’s too exhausted to climb, overcome by the...

Joseph Luzzi’s A Cinema of Poetry: Aesthetics of the Italian Art Film is a dense and layered book that focuses on different aspects of post-war Italian cinema, spanning from neorealism to films as recent as Le ...

STANDARD GRAMMAR: CUT ON EYELINE Two glances meet – he looks down, to see Worlds emerging in a coffee cup. See: Deux ou trois choses que je sais d’elle (1967) (1) John Flaus introduced me to the word ...

Among European filmmakers of the highest order, only Federico Fellini has had an identification with travel and the road as metaphors for life remotely as strong as Wim Wenders. The road movie is, of course, mo...

To think about Italian cinema in the immediate postwar era is almost inevitably to conjure up heartrending images from the classic neo-realist films like Roberto Rossellini’s Roma città aperta (1945) and Vittor...

The ever popular I soliti ignoti (Big Deal on Madonna Street, Mario Monicelli, 1958) is a pivotal film in Italian cinema. It marks the end of 1950s “pink neo-realism”, which adapted neo-realist settings to the ...

While he may be most famous outside of Italy for co-directing Federico Fellini’s first feature Luci del varietà (Variety Lights, 1950), Milan-born Alberto Lattuada had a long career spanning more than four deca...

Readers may find it odd at first to see Federico Fellini’s name appear as an author on the content’s page of our current issue – perhaps for no other reason than the fact the Italian director passed away in 199...

Translator’s Preface Federico Fellini Federico Fellini’s Fare un film (1980) is the most comprehensive collection of the idiosyncratic Italian director’s writings available in any language. The contents we...

Practically all published items on Borgman (2013), no matter how tiny, mentioned the fact that this was the first Dutch film to enter the Cannes main competition since 1975, the year Jos Stelling’s debut featur...

Upon watching La grande bellezza (The Great Beauty, 2013) by Paolo Sorrentino, the first two surfacing feelings are: what a stunning piece of work, and what a desperate country Italy has become. The film is fea...

Darragh O’Donoghue SvenErik Olsen George Papadopoulos Michael Pattison Yoana Pavlova Antoni Peris Sierra Pettengill Raymond Phathanavirangoon David Phelps Jit Phokaew Andréa Picard Matías Piñei...

“I love life so fiercely, so desperately, that nothing good can come of it.” - Pier Paolo Pasolini (1960) (1) “Pasolini (in his death) has successfully evaded the mortal synthesis, and reproposes around his c...

Argento’s World of Giallo Dario Argento (b. 1940-) has been making gialli for a long time. His first three features – L’uccello dalle piume di cristallo (The Bird with the Crystal Plumage, 1970), Il gatto a no...

“As nihilism becomes more and more the norm, the symbols of emptiness spread much more terror than those of power do.” – Ernst Jünger One nearly misses Habemus Papam (We Have a Pope, 2011) for the reason abse...

In his later years Elio Petri’s sardonic sense of humour appears to have allowed him to savour the irony of having been perhaps the only front-rank Italian director to have been refused entry to the prestigious...

Among the great wave of film debuts in the late 1950s and early 1960s, that of Rome-born director Elio Petri is often overshadowed by those of his contemporaries both in Italy and abroad. Even in terms of Petri...