Romantic. Elegant. Fantastical. We welcome back to the BAMPFA screen one of the greats, Federico Fellini, a “larger-than-life maestro who created an inimitable cinematic style combining surreal carnival with incisive social critique” (Criterion).
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Provincial newlyweds arriving in Rome get sidetracked by the wife’s obsession with a fumetto photo-comic star in Fellini’s solo directorial debut. “A funny, sardonic, and clever satire on popular heroes and ordinary people’s illusions” (Chicago Reader).
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Fellini’s muse, Giulietta Masina, modeled her timeless character Gelsomina after Charlie Chaplin’s Little Tramp. She stars with a brutish Anthony Quinn in this classic that Martin Scorsese called “the cornerstone of Fellini’s work.”
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Marcello Mastroianni stars as a jaded reporter drawn to the decadence of Rome in Fellini’s masterpiece, filled with jaw-dropping set pieces of both excess and warmth. “Fellini’s bizarre, extravagant visuals are absolutely riveting” (Time Out).
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Three con men pose as priests to trick peasants out of cash in Fellini’s sadly ironic study of misguided faith, whether in religion or upward mobility. This is the closest Fellini would come to film noir.
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A jaded director (Marcello Mastroianni) fantasizes on his next great film—or his next sexual conquest—in Fellini’s metafictional masterpiece, “probably the most potent movie about filmmaking” (Guardian).
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The great Giulietta Masina portrays the spunky prostitute Cabiria in this humorous and ultimately transformative story of the survival of the human spirit. “The masterpiece of Masina’s collaboration with Fellini” (Albert Johnson).
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Marcello Mastroianni stars as a jaded reporter drawn to the decadence of Rome in Fellini’s masterpiece, filled with jaw-dropping set pieces of both excess and warmth. “Fellini’s bizarre, extravagant visuals are absolutely riveting” (Time Out).
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A bourgeois housewife (a mesmerizing Giulietta Masina) embraces a world of fantasy in one of Fellini’s most spectacular, imaginative works.
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Provincial newlyweds arriving in Rome get sidetracked by the wife’s obsession with a fumetto photo-comic star in Fellini’s solo directorial debut. “A funny, sardonic, and clever satire on popular heroes and ordinary people’s illusions” (Chicago Reader).
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Fellini’s tribute to the world of the clown is—like so much of his supposedly nonfiction work—part documentary, part autobiography, and suffused with fantasy. “Fellini turns the world into his circus” (Time).
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A jaded director (Marcello Mastroianni) fantasizes on his next great film—or his next sexual conquest—in Fellini’s metafictional masterpiece, “probably the most potent movie about filmmaking” (Guardian).
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Fellini’s free-spirited portrait of Rimini in the 1930s, when fascism was a fact of life, is “as full of tales as Scheherazade, some romantic, some slapstick, some elegiacal, some bawdy, some mysterious . . . a film of exhilarating beauty” (New York Times).
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Fellini’s tour of ancient Rome is less historical document than decadent fantasia, following the narrator, Encolpius, as he searches for his male lover through feasts, festivals, orgies, and death. “A surreal epic” (New York Times).
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The great Giulietta Masina portrays the spunky prostitute Cabiria in this humorous and ultimately transformative story of the survival of the human spirit. “The masterpiece of Masina’s collaboration with Fellini” (Albert Johnson).
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Fellini’s episodic, “panoramic album of impressions in praise of Rome and the Italians, past, present, and future” (Albert Johnson).
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Fellini’s free-spirited portrait of Rimini in the 1930s, when fascism was a fact of life, is “as full of tales as Scheherazade, some romantic, some slapstick, some elegiacal, some bawdy, some mysterious . . . a film of exhilarating beauty” (New York Times).
Donald Sutherland plays Casanova in “Fellini’s most extravagant and courageous dream” (Albert Johnson). “The visual daring and pure imagination of every image leave it as an elegiac farewell to an era of Italian cinema” (Time Out).
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Giulietta Masina and Marcello Mastroianni star as an aging dance duo invited to perform on a television variety show in Fellini’s film, both a fond tribute to vaudeville and a withering assault on the meaningless opulence of commercial television.