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Mt. Zion Hotel
Gan Hapamon
Train Compound
A woman's quest for self-discovery is at the core of this film. Many see this film as the female version of 8 1/2 - that is, a journey into the imaginations and fantasies of a protagonist who experiences a mid-life crisis. This is carnival-like cinema, fun and sensual, simply worth indulging in.
Fellini's imagination, personified in the form of a naive intellectual, roams the sensuous and decadent world of the Roman Empire. The result is a spectacle for the eye and mind: colorful, rich in characters, storytelling, philosophy, eccentric behavior, and exquisite aesthetics. In short - a masterpiece.
In a blend of fantasy, autobiography and documentary, Maestro Fellini recalls his arrival in Rome in the early 1920s. Roma is Fellini at his best – a surrealistic masterpiece, devoid of direct criticism, but replete with grotesqueness and also the required venom is not absent.
Fellini’s three-part meditation on clowns. Part one is based on his childhood memories of the circus. Part two is a documentary-like investigation of the historical figure of the clown. The final part is a funeral service for the clown after 200 years of contribution to western culture.
Fellini's take on the story of the 18th century most famous and notorious womanizer, Giacomo Casanova, as he parades through the capitals of Europe, finding his next conquest. "Donald Sutherland commands a stunning array of gestures both precise and revealing...an extraordinarily physical performance" (Sight & Sound).
A sleeping passenger is enticed off a train and finds himself in a world completely dominated by women. "In a flash Fellini establishes a humorous dream state that is then sustained with remarkable zest and ingenuity for the duration of the ride" (Washington Post).
In quasi-documentary style, Fellini follows the rehearsal of a symphony orchestra and fashions a witty metaphor for the political chaos of 1970’s Italy. Fellini presents unique characters, physical humor, and breathtaking scenes to the eternal musical notes of Nino Rota.
Federico Fellini recalls his hometown of Rimini in the 1930s through the eyes of 13-year-old Tita. In typical Fellinian style, a kaleidoscope of bizarre characters pass through the various episodes, as our hero finds refuge from the provincial wasteland in his imagination and in the characters he sees at the movies.
Fellini’s last film mixes poetic vision with images of modern chaos. The film follows the adventures of two heroes, members of a small Emilian town, and through the eyes of the master the result is a series of images reminiscent of some of the images that have already occupied Fellini in previous works.
Just prior to the outbreak of WWI, Fellini’s imagination takes us on a luxury liner full of statesmen, opera singers, aristocrats and a rhinoceros. With majestic imagery, And the Ship Sails on is cinema at its grandest, an experience that should not be missed.
Many years before, two dancers performed as Ginger and Fred in homage to the great Hollywood duo. Now, they are invited by Italian television to revive their act. Fellini’s film is an affectionate tribute to the old-time dancers and a sharp criticism of television’s crass commercialism.
While being interviewed by a Japanese TV crew, Federico Fellini reminisces about his early days at Cinecitta, Italy's equivalent of Hollywood, taking the audience behind-the-scenes of his creative world. Fellini's musings on the role of cinema in his and our lives materializes into a jubilant film.
