Juliet (Giulietta Masina), tryingon who she will be for her husband tonight, discovers she is nothing.Thus begins, for this diminutive bourgeois housewife, a psychic journeyinto freedom and the magic of experience, magnificently concretized intocinema by Fellini. Fragmented (literally by the camera), Juliet isreceptive to the seers and Dionesian revelers she never knew inhabitedher neighborhood, and to the bareback riders and flaming angels of herchildhood. Like Guido before her in 8-1/2, after all the ghosts, thevoices, and the circus of desire pass by, "Juliet is concerned withthe daily miracle of simple reality" (Fellini). In its picture of amarried woman's evolution toward apperception and its profoundsensitivity to the material, even tactile nuances of this progression;in its contrasting portrait of male privilege and nonchalance, Juliet ofthe Spirits completes a masterful trilogy with Rossellini's Voyage inItaly with Ingrid Bergman (1953), and Antonioni's Red Desert with MonicaVitti (1964).