O Rio vai perder aquele que simboliza tudo que podemos definir como um cinema único. Não há outro cinema em que quem fuma pode assistir filmes em um lugar separado (uma das poucas coisas boas da época em que eu tabagiava) ou achar um charme frequentar uma única sala de exibição e passar horas esperando na locadora mais encantadora por metro quadrado (um quadradinho, aliás).

Pra fechar com "chave de ouro" e deixar a gente com um vulto indelível ou um rombo imenso na memória, o fim de semana no Paissandu vai ter uma mostra de filmes clássicos (Bergman, Fellini, Buñuel, Truffaut, Cassavetes, Malle, Bertolucci, Jacques Tati, etc.).

Vale a pena o adeus.

PROGRAMAÇÃO

Sexta-Feira – 29/08
12h – FANNY E ALEXANDER (Fanny och Alexander) Ingmar Bergman – 188 min
15h20 – ASCENSOR PARA O CADAFALSO (Ascenseur Pour L’Echafaud) Louis Malle – 90 min
17h15 – O JOELHO DE CLAIRE (Le Genou de Claire) Eric Rohmer – 105 min
19h15 – O ATALANTE (L’Atalante) Jean Vigo – 95 min
21h15 – DESPREZO (Le Mépris) Jean Luc Godard – 103 min
23h15 – NOITES DE CABÍRIA (Le Notti di Cabiria) Federico Fellini – 110 min

Sábado – 30/08
12h – PARADE (Parade) Jacques Tati – 86 min
14h – UM HOMEM, UMA MULHER, UMA NOITE (Clair de Femme) Costa Gravas – 105 min
16h – ATIREM NO PIANISTA (Tirez Sur Le Pianiste) François Truffaut – 92 min
18h – MEDÉIA (Medea) Píer Paolo Pasolini – 118 min
20h15 – A GRANDE ILUSÂO (La Grande Illusion) Jean Renoir – 117 min
22h30 – PAISSANDU SURPRESA

Domingo – 31/08
12h – UMA MULHER SOB INFLUÊNCIA (A Woman Under The Influence) John Cassavetes – 155 min
14h45 – CASABLANCA (Casablanca) Michael Curtiz – 102 min
16h45 – A BELA DA TARDE (Belle de Jour) Luis Buñuel – 101 min
18h45 - O ÚLTIMO TANGO EM PARIS (Ultimo Tango a Parigi) Bernardo Bertolucci - 136 min
21h15 – TRINTA ANOS ESTA NOITE (Feu Follet) Louis Malle – 110 min

O filme conta a história de um grupo de bossa nova, os Desafinados. Seus integrantes decidem fazer um documentário em memória da cantora Gloria Baker e sobre suas experiências em Nova York.
A principio o tema parece ser uma delicia!Vamos ver se o filme também é! O elenco conta com Rodrigo Santoro, Cláudia Abreu, Selton Mello, Alessandra Negrini, Ângelo Paes Leme, Jair Oliveira, entre outros. A direção é do Walter Lima Jr. ,e eu, cof cof, nunca assisti nada dele pra comentar algo. Não assistirei esse final de semana,afinal estarei em um set de filmagem, mas fica pra segunda-feira.
Quanto ao Festival Internacional de Curta-Metragens, eu não fui ver NADA. Vergonhosamente. Creio que vou amanhã.Sempre dizem que quem faz cinema não tem tempo de ir ao cinema. Uma grande verdade.

Se bem que tempo por tempo ontem depois da aula eu fiquei até umas 3 da manhã assistindo HOUSE. Vício.

Para quem não sabe House ou Dr.House é uma série médica norte-americana, criada por David Shore.
O Dr. Gregory House, interpretado pelo ator inglês Hugh Laurie, e que dizem ser completamente diferente do personagem, é um especialista em diagnósticos e se destaca não só pela capacidade de "desvendar" os mais absurdos casos, como também pelo seu mau-humor,sarcasmo e comportamento anti-social. Eu estou na segunda temporada e digo que é excelente! A abertura da série é incrível também, ao som de Massive Attack, só não precisava do plano do lago,como diz o Du,hehe.

Sobre a minha vida, gostei do filme "Acossado" do Godard,haha. Nunca achei que diria isso. Mas enfim.
Ontem fiquei impressionada com a capacidade imbecil das pessoas fazerem coisas estupidas por serem desocupadas...
E é isso, hoje termino meu livro do Fellini.
=)

"Si bien la serie de letreros de “Atención…” está configurada valiéndose de formas y estrategias de la massmedia informativa, incluso publicitaria, el contenido de esa frase nos invita a tomar una posición sumamente diversa a la del receptor de publicidad. Pues mientras la publicidad busca la obediencia del consumidor ante su imperativo “consume”, la invitación que hace Muntadas deja espacio para que sea posible un sujeto (y no un autómata) capaz de leer la obra, y construir un sentido." (Farriol, 2007)

Naturalmente Internet es incorporado como nuevo medio en la obra de Muntadas desde el mismo momento de su popularización a principio de los noventa a través de la World Wide Web. En 1994, a raíz de la censura que la televisión española había ejercido en 1989 contra su obra TVE: Primer Intento, Muntadas realiza The File Room, una instalación física temporal (en el Randolph Street Gallery de Chicago) y una base de datos permanente y ampliable en el espacio virtual de la Red. Un archivo sobre la censura a escala mundial, desde casos recónditos de la historia hasta los de más candente actualidad. La obra comporta, tanto en su ejecución como en su evolución, un espíritu público y social de diálogo, discusión y aportaciones sucesivas. La instalación recrea el ambiente burocrático de un archivo, con las paredes repletas de cajones archivadores que aumentan la oscuridad del recinto, el cual queda tan solo iluminado por los monitores que permiten la consulta del archivo recopilado.
La obra de Muntadas, en las antípodas de la corporeidad, se esparce por el torrente saturado de estímulos que generan los innumerables soportes de significación actuales. Las nociones postestructuralistas de “texto” y “simulacro” no operan simplemente como disoluciones de los conceptos modernistas de “verdad” y “política democrática” (Ballesteros, 1989), sino que son puestas en funcionamiento en su praxis artística gracias a un exhaustivo conocimiento de las nuevas tecnologías y entornos sociales que las posibilitan.

El texto se vuelve físicamente ubicuo, sus lecturas se multiplican, se superponen sus significados, como “un tejido de citas provenientes de los mil focos de la cultura” (Barthes, 1994, 69). Se produce una doble apertura hacia el receptor: tanto en cuanto a la libertad total para pactar el significado, como en la posibilidad material de intervención. De este modo, los límites de los conceptos autoría, obra finita y realidad/ficción quedan voluntaria y significativamente desdibujados. En cuanto al simulacro, no se trata de ninguna protesta ante la espectacularidad fingida de la sociedad. Muntadas simula el discurso televisivo, propagandístico, artístico... utiliza el simulacro omnipresente de la cultura como material conceptual para sus representaciones, por ejemplo, evidenciando o poniendo en crisis los mecanismos espectacularizantes de las galerías y museos; esto es (como en Borges, como en Fellini) en lo que consiste su verdadera metáfora realista.
En 2005, Muntadas recibe el Premio Nacional de las Artes Plásticas, concedido por el Ministerio de Cultura, a juicio del jurado:

“por su trayectoria artística y por su influencia en el arte español contemporáneo. Muntadas es, sin duda, uno de los artistas con un reconocimiento internacional más amplio. A caballo entre los medios de comunicación y las artes visuales, su contribución a la renovación del lenguaje artístico, incluyendo el vídeo, la televisión, etcétera, es excepcional” (ORDEN CUL/4074/2005, de 16 de diciembre, por la que se conceden los Premios Nacionales de Artes Plásticas y de Fotografía, correspondientes a 2005. Boletín Oficial del Estado Nº 310/2005. Publicado el 28/12/2005).

Actualmente es profesor invitado del Programa de Artes Visuales de la Escuela de Arquitectura del M.I.T. en Cambridge (MA) y del Instituto Universitario de Arquitectura del Veneto de Venecia. En una de sus últimas actuaciones participó en la 51ª edición de la Bienal de Venecia, transformando el Pabellón Español en el Pabellón On Translation.

Descobri que sou uma pessoa muito metódica. Coisa de taurino? Até na hora de comer eu sou metódica... eu sigo uma organização no prato e na sequência de coisas que eu tenho que comer. Estranha.

O Muffin de baunilha com gotas de chocolate do Vanilla Café esta aprovadissimo pela minha pessoa.

Ontem aula de roteiro foi ótima. E hoje me praparando para assistir um filme do Godard na aula de Direção.

O capítulo sobre circo e palhaços do livro do Fellini que estou lendo ,é particularmente chato. Talvez pq esse assunto em especial não seja do meu agrado e eu não concordo com coisas que ele fala. Interessante saber sobre a exitência dos tipos de palhaços... os Augustos e Clown Brancos, coisa que eu não sabia, aliás nunca gostei de palhaços. No livro ele fala alguns nomes e diz em qual dos dois tipos a pessoa se encaixaria. Creio que eu seria um Clown Branco, tentando manter a pose e toda aquela coisa. Não sou tão soltinha e desinibida para ser um augusto. Augustos são aqueles palhaços atrapalhados, bobos ,alegres , com roupas velhas e nariz vermelho. Enquanto os Clown Branco seriam aqueles palhaços de roupa mais refinada, chapéu em forma de cone, rosto branco , sérios e contidos.  Enfim....

Keep Going...

 We are friends I know. We are interested in each other's work . We share similar taste in music and wine. We cared for each other and yet we have had this terrible summer. Why , oh why did he seek solace with that woman? I don't care what he feels for Her. I just want him to feel for me again in the way he used to! She must be expunged from his memory banks. I think it unlikely that I will ever see Her again which is probably just as well. I don't know how she would respond to a cat fight but I would willingly scratch her eyes out, followed by ripping off those giant nipples. And as I am bigger than her in every way, perhaps I would win! Oh why did she go on and on about my fuller breasts in those years of our acquaintance? Did she have some secret lesbian fantasy involving me? Certainly, one of Her female friends shouted " dyke!" by her demeanour, dress and hair style. How would Otloml have regarded girl on girl sex? Maybe that would have got him going . Too late now, even if I had the inclination. I did not even cope wellsharing a flat with a hockey playing lesbian in the early seventies!

My dreams of a passionate start to today came to naught. My own fault again. I do see that the virago I became last night would probably be a turn-off for all but a sadist. Somehow I flipped again at thr thought of Otloml being with Her. Although he claims he thought he was showing interest in me it was not enough. How would you feel if it was several hours before one whom you used to love passionately got round to kissing you on the return from several days away? And why could that same person fail to understand that my  closeness and lip puckering were attempts to win that kiss/ He claimed that sitting next to me holding my hand should have been enough, but what dear reader , do you think? Most of you are probably thinking that, after Otloml's betrayal , I should not allow him wirhin a bargepole's length of me.

Apparently, while picking up his stuff in Aberdeen, he had a bit of a heart to heart with old friend  Jimmy. Now that relationship is all connected to Andy who was so upset by news of our marital problems He who refused to lie for Otloml when  he ran off to Her house while pretending a cinema trip with the boys in Aberdeen. Apparently our earthquake may have set up tremors in the relationships of others further north.

No doubt Otloml feels that this is all rather an extreme reaction. He told me recently that he regarded That French Woman as a fuck buddy, but how would he feel if I had one (or two as in his case)? Not happy by his own admission. Is this an example of one rule for men and quite another for women? I wonder.

 What can we save from this day? We plan to take a trip a far as Aberdeen. I would quite like to see Andy and his fiancee to apologize for any upset we have caused them . There is also the thrilling promise of a trip to a big Asda to view inflatable hot tubs.

Otloml did try to make the beginning of the day loving. He likes to bring me breakfast in bed, helped by an accommodating kitchen fairy who set up a tray. primed the coffee percolator and quite often did the previous night's washing-up. For some unknown reason she seems to have gone on strike recently and the idea of staying in bed has lost any real attraction for me. This morning however, I gave in and though wide-awake since 7.30, waited until 9.30 for the requisite coffee, croissants and newspapers. Sometimes these Saturday papers have revealed tempting ideas for our day. Indeed it was thus that I found out about Tilda Swinton's Cinema of Dreams . Originally we had both planned to go up to Nairn today for the closing of the film festival, a showing of Fellini's "Eight and a half" but Tilda's website made it very clear there were no tickets, not even it seems in exchange for a tray of home bakes. Not worth the long and costly drive north.

Eventually we did set off in a northerly direction . Aberdeen taking in the charity shops of Forfar and Brechin with fish and chips from the Ashvale in Brechin. Otloml certainly knows how to treat a girl. The day was going fairly well. He found an obscure record and some old music reference books and the lunch was tasty. Then I had to spoil things by trying to find out why Otloml was so unresponsive to my blandishments but could give in to the charms of two other women.

This question remains unanswered. He says he will change. Can I wait that long?

Still we eventually reached Aberdeen. I cheered up a bit finding a smart Jaeger dress and jacket which a few months before would not have fitted. I left it . What use do I have for silk and linen outfits? We pottered through Aberdeen's cold granite streets, shopped for food and turned for home. I thought we would call on Andy as we left. No. That friendship seems to be floundering. I wonder why?

Back home a long evening awaits. Otloml plans to be loving to me but I think he has forgotten how. One thing I did learn today was that the Dreadlocked dog may well have tried to carry out my wishes at her house. He crapped in the bedroom. Unfortunately not Hers, but it was on the right lines!

More interestingly, I watched Federico Fellini's 8 & 1/2. (The title is "Eight and a Half," written in numerals.) It's considered to be one of the greatest films ever made. I have to confess that, while I liked the movie and found it interesting and funny, I can't count it as having been extraordinarily impressive.

Spoiler alert.

It's a semi-autobiographical comedy about a film director with "director's block," the film director's equivalent of writer's block. The director, Guido, has some problems that are preventing him from working and so he's taking "the cure" at an Italian spa. His entire production crew; various conniving actresses, dominating producers, and financiers; his mistress; and his wife come along. (In contrast to the way that adultery is supposed to go, the mistress is unattractive and the wife is very appealing.)

Guido is a womanizer and always has been. That has led to some serious problems in his marriage. He is in a period of reflection on his infidelities and how he's gotten to be the way he is. That reflection is what is blocking his creativity. He's torn between being honest about his philandering nature and committing himself to his marriage. And he's torn between which self to project into his film, or how honest to make the film. When a person finds a conflict between a basic commitment, and what will make him happy, he has a very serious problem. He will find himself alienated from himself.

A philosophical aside. The tension is between past and future. I've found a certain image helpful. Think of a line with a point shifting along it from left to right. The point is the present; what's left is past and what's right is future. The left is fixed in place, but we might think of the line to the right as dotted or gray or otherwise vague. Now, imagine a little stick figure in place of the point. Finally, turn the image ninety degrees so that the little stick figure is moving down. Notice that, as the future is not yet in place, there is nothing to stop the little stick figure. So you can imagine him screaming as he falls permanently into the future. The trouble here is that one has to constantly make choices as one screams into the future. That's the real-world analogue of choosing.

Now, we can think of the self as the upper part of the line, plus the little screaming stick figure. The past is one's "immanence," the screaming figure is one's "transcendence," the moment of choice at which one transcends one's past. Our problem is that we are no more one of these than the other. If only the past pushed you, then you could be your immanence and be at rock-like peace. But the future pulls you. If only you could remake the past, then you could be pure transcendence. But you can't. The very fact that you're transcending your past introduces the possibility of a conflict between one's history, old commitments, and "nature" — one's character or personality — and one's free choices and new commitments in the present. But one is both of the two conflicting moments. So to find a contradiction between the choices one thinks it right to make, and one's character, is to be alienated from oneself. That's the situation that Guido finds himself in. This used to be called "the existential situation" and I've just given a little run-down on an essential element of the thought of Kierkegaard, Heidegger, and Sartre, all following Kant but really gloomily and in a post-Enlightenment fashion. (Anyone who knows many of my thoughts on film and fiction will know that I see an awful lot of narrative art in terms of this Kantian-existentialist view.)

Back to the film. The reason that Guido's personal problems prompt directorial trouble is that the movie Guido is trying to make is an expression of his own life. It's apparently a science fiction movie, either about a man leaving the Earth, or else about a lone survivor of a nuclear war. — It's not that I'm not clear on what was going on, it's that Guido had only the vaguest idea of what was going on. The protagonist of Guido's film apparently feels separate from the rest of humanity.

As he tries to work out his existential dilemma, Guido indulges in a lot of fantasy. An overindulgence in fantasy is a sign of alienation from other people. Fantasy worlds are, by nature, solipsistic. Certainly Guido is feeling self-absorbed and cut off. Fellini weaves in the fantasy with the literal story, and a lot of it is really funny.

The funniest part was Guido's dream of all of his women (past, present, imagined future) living together in peace and haremic harmony, gladly moving upstairs and out of Guido's life when they get old enough. One woman rejects this arrangement, noting that Guido himself has violated the age restriction. She prompts a revolution among the women, and Guido has to keep order with a whip. Believe me, this is not sexist and is incredibly funny. (Guido is sexist. But the movie isn't.) I laughed so loud I was afraid that I was going to wake up the baby. There are other really funny scenes, such as a scene of mostly geriatric spa-goers lining up for glasses of spa-water with the Ride of the Valkyries playing.

Other than having grasped the basic theme and some of how it was conveyed and that parts of the movie were funny, it seems as though I have very little insight into the film. So I think that I'll stop now. I'll write about Bergman's The Virgin Spring sometime this week.

miejsce Wrocław - Rynek - Stary Ratusz

czas - do 31.08.2008

Polecam bo warto zobaczyc kilkanaście plakatów , zdjęć , rysunków mistrza !

foty z fona

copyright Pour le Cinema

Fellini rysownik

Plakaty

We got there at around 6, even though the movie itself wasn't scheduled to begin until around 7:30 or 8, because we read that the venue opened at 5:30, and we wanted to get good seats. Well, when we arrived, the place was empty. There were a few tents in the back serving mexican food, and a tent in the middle giving away starbucks energy drinks, and then a few people wandering around, but only maybe one or two people actually sitting down in front of the screen. It seemed like the reason was probably that the sky looked slightly on the grumpy side, but when we went in, the guy at the front, who checked our bags for food & drink to make sure we weren't bringing in our own instead of buying theirs (I had to finish an Odwalla before he'd let me past) assured us that there was no way they'd be rained out. I specifically asked, how rainy is too rainy, i.e., is a little drizzle enough to put off the show, or does it need to be a downpour, and who makes the call, etc, and he said, oh no, nothing will stop the show, we will go ahead no matter what. I was a little surprised by the answer but didn't think too much about it as the weather prediction had been only 30% chance of showers and I figured even if it did rain it probably wouldn't last too long, so I thought he was going on that assumption.

Anyway. We got some mexican food and it started to rain. We decided to find a spot to stand underneath the brick arches to stay dry until the showers were over, so found a little niche behind some electrical wire and opened up a crossword puzzle book (& finished the last wednesday! yay!). The rain got much harder. It started to look like it was coming down at quite a severe angle and possibly really screwing with the tent cuisine. We were quite safe, although the puddle of water in front of us was getting quite deep... Eventually, the rain let up, and a magnificent rainbow appeared directly across from us and it seemed as if everything was right with the world... except that we were meant to see the movie in a pool, and it was flooded. The show was cancelled.

Still, we saw a gorgeous rainbow, had a great dinner in williamsburg, had fun in the pool, got free coffee flavored energy drinks, and walked through parks, so it was worth it.

The next night we discovered Fellini's 8 1/2 was playing in Socrates Sculpture Park at about 6:30. It was meant to start at 8. We basically just ran for the subway and hoped there'd be seats left, though we were worried about getting a seat where you could still read subtitles.

I had never seen 8 1/2 before. But we got fine seats, even though it was pretty crowded, because it is one of N's favorite films, and so he basically just walked right up to an empty spot next to the projector and sat down... no one seemed to mind.

I enjoyed the movie, although it had been very hyped and wasn't really what I'd expected. It wasn't exactly a Good movie because it was basically a discussion about the impossibility of a Good movie, which I agree with, fundamentally - yet, like all art, we try to make something anyway, as impossible as it is to ever make what would actually be worth making. And this project did work, because it was so self-aware, although at the same time, it offered little beyond its own self-awareness, so it felt limited as well: but it knew it was limited! so you couldn't fault it for that; it was always ahead of you, so to speak. And really, many of the fantasy / dream sequences or lines back and forth were just so wonderful that it didn't really matter what the set up was, exactly. Any excuse to create that scene or character... But altogether it didn't tie up and satisfy something, because its essential point was about the hopelessness of that goal, so a frustration always hung there a bit for me. Like the filmmaker got away with more than he should have because he said from the start that nothing was happening. But maybe the secret is the title: 8 1/2 refers to the number of movies he'd made; every time as a director he goes through this and the 7 1/2 other times he had sucked it up and made it into a story of some kind, he had put that symbolic girl in the white dress, he had cast all the characters, he had made all the decisions and gone forward and just completed the thing, and it had been a movie, Good or not, a finished thing. This time we see what happens when you just can't deal with all the imperfection of art, all the pain of trying to create when the product is never what you hope for, but it's just one among many, and Fellini still goes on to keep sucking it up in his other movies even though he never does in this one. (almost related: woody allen discusses creative process with the Onion...I basically just wanted to link to this interview)

Finally, last night I saw Tropic Thunder. I had been expecting a sort of silly comedy about a bunch of guys too dumb to notice they're not in a movie anymore, with lots of references to serious war movies - a spoof that could be fun but might get a bit eye rolly. This wasn't that movie. Yes, there were silly jokes, plenty of them, but the whole angle of the thing was self reference rather than movie reference, and the satire was all pointed toward hollywood, or really, our general cultural thinking that we can represent something that someone else has been through and thus, make it more true by making it more accessible to everyone. This was brilliantly pointed out in Robert Downey Jr's monologue explaining that you "never go full retard" in a movie, since the audience has to relate; it was subversively portrayed by his character being a white man playing a black man; and it was the basic plot with regard to war movies all the way through, as a look at the disparity of actual war and creating a movie about war and the emotional experience of the audience watching the movie about war and thinking it is meaningful: when those emotions they are feeling are based on people's presentations who have very little idea about what war is actually like. Much like Robert Downey Jr in that blackface.

It was really funny too.

Ps. Od dwóch dni coś dziwnego ma miejsce w moim życiu. Staram się być stoikiem, bo to nie byłby pierwszy raz, kiedy mylnie odebrałem właśnie takie komunikaty, ale coraz trudniej mi to idzie, biorąc pod uwagę rozmowę do 2 w nocy/nad ranem.

O diretor italiano tem muitos filmes que beiram a poesia visual, gosto muito de 8½, mas tenho carinho especial por La Strada.

Gosto da atuação de Giulietta Masina e Anthony Quinn. Giulietta Masina é a musa inspiradora dessa tragicomédia. Na verdade, só posso classificar o filme como tragicomédia, pois Gelsomina e Zampanò interpretam atores circenses, saltimbancos e palhaços. Zampanò realiza um numero pífio de estourar correntes com o próprio peito, e Gelsomina é divertida para crianças, com uma simpatia simples e uma falta de jeito próprios da personagem. Foi vendida a Zampanò pela sua mãe, para seguir com ele sua carreira, Na Estrada do pós-guerra.

Ela é uma pessoa singela, de sentimento nobre e gaiteiro, completamente submisso a Zampanò. Ele é um homem rude, que a trata com dureza. Trabalha para beber, e se envolver com prostitutas. Quando ele, por inveja, mata o Louco, outro artista circense mais talentoso, Gelsominina fica louca (sic), vira uma alma errante diante de tanta violência.

Acho que foi a primeira vez que usei a palavra “Insight” na minha vida. Quando Zampanò percebe que largou sua companheira a própria sorte para morrer na praia, cai de joelhos com um “insight”, mostrando toda sua sensibilidade estreita, e finalmente arrependimento.

É poesia...

From the Studio about two days ago, the subject of this new painting is the young Hanoverian from the series, Fellini by Fabuleux, out of Malawi by Maurice. Bred by Northwinds Farm in Erin, Ontario.

The painting is still wet, I will post a clearer image when he is dry. The painting needs an official name..anyone out there have any suggestions???

Top! do Leitor:

Fábio Rockenbach

Tops! da Equipe

Sílvio Tavares

Diversificada e encrustrada de clássicos e temáticas complexas, a década de 50 constitui uma das mais belas épocas da história do cinema. Seja na face deslumbrante de Bette Davis no magnífico A Malvada, na inquietante femme fatale vivida por Gloria Swason no noir Crepúsculo dos Deuses, na filosofia peculiar da obra prima O Sétimo Selo, de Ingmar Bergman ou mesmo na simpatia expontânea de um jovem Jimmy Stewart contemplando um grande amigo (um coelho de 2 metros de altura invisível!), há uma convergência inevitável da magia da sétima arte para tal período. Pessoalmente aconselho muita atenção ao cinéfilo a essa maravilhosa época. Você se emocionará, roerá suas unhas de tensão e gargalhará alto com as diferentes e riquíssimas vertentes das obras nela contidas.

01. Rashomon (Akira Kurosawa, 1950)
02. Glória Feita de Sangue (Stanley Kubrick, 1957)
03. Harvey (Henry Koster, 1950)
04. Os Sete Samurais (Akira Kurosawa, 1954)
05. Crepúsculo dos Deuses (Billy Wilder, 1950)
06. O Sétimo Selo (Ingmar Bergman, 1957)
07. Um Corpo que Cai (Alfred Hitchcock, 1958)
08. A Ponte sobre o Rio Kwai (David Lean, 1957)
09. A Malvada (Joseph L. Mankiewicz, 1950)
10. Noites Brancas (Luchino Visconti, 1957)

Marcelo Dillenburg

A década de 1950 foi, essencialmente, todos contra Hitchcock. E por pouco, muito pouco, Hitch perdeu a primeira posição. Foi uma das decisões mais complicadas, as duas obras-primas de dois diretores que tinham uma visão sobre-humana para o enquadramento, o uso de claro e escuro, a composição de cena e a utilização do rosto de seus personagens. No fim, Kurosawa levou o topo. Mas Hitch emplacou três filmes entre os dez. Ah, e outra, me deu pena colocar Truffaut em sexto, mas não tinha como evitar, mesmo.

01. Os Sete Samurais (Akira Kurosawa, 1954)
02. Janela Indiscreta (Alfred Hitchcock, 1954)
03. Um Corpo que Cai (Alfred Hitchcock, 1958)
04. 12 Homens e uma Sentença (Sidney Lumet, 1957)
05. O Sétimo Selo (Ingmar Bergman, 1957)
06. Os Incompreendidos (François Truffaut, 1959)
07. Noites Brancas (Luchino Visconti, 1957)
08. Crepúsculo dos Deuses (Billy Wilder, 1950)
09. O Homem Errado (Alfred Hitchcock, 1956)
10. Ben-Hur (William Wyler, 1959)

Amílcar Figueiredo

Acabadas as férias, volto com a Década de 50, quase tão querida pra mim quanto a posterior. Aqui o American Way of Life choca-se frontalmente com a maneira que a Europa e o Japão encontraram para rever o impacto de suas próprias idéias, mais precisamente o custo delas em vidas humanas. Menos o eu, e mais o nós. Até hoje eu me identifico mais com essa segunda forma de ver a vida. Rápidas menções honrosas: Invasores de Corpos (Siegel), O Prazer (Ophüls), Cantando na Chuva (Donen e Kelly), Crepúsculo dos Deuses (Wilder), Palavras ao Vento (Sirk).

01. Os Incompreendidos (François Truffaut, 1959)
02. O Mensageiro do Diabo (Charles Laughton, 1955)
03. As Noites de Cabíria (Federico Fellini, 1957)
04. O Batedor de Carteiras (Robert Bresson, 1959)
05. Nazarín (Luis Buñuel, 1959)
06. Um Corpo que Cai (Alfred Hitchcock, 1958)
07. Oharu - A Vida de Uma Cortesã (Kenji Mizogushi, 1952)
08. O Sétimo Selo (Ingmar Bergman, 1957)
09. Anatomia de um Crime (Otto Preminger, 1959)
10. Os Sete Samurais (Akira Kurosawa, 1954)

Djonata Ramos

Complicadíssimo. Os 4 primeiros, na realidade, não têm ordem de preferência, eu fui jogando uma moeda e ordenando, tanto faz ali quem fica na frente de quem, todos são obras-primas maravilhosas, coisa do diabo mesmo.

01. Janela Indiscreta (Alfred Hitchcock, 1954)
02. Noites Brancas (Luchino Visconti, 1957)
03. No Silêncio da Noite (Nicholas Ray, 1950)
04. Crepúsculo dos Deuses (Billy Wilder, 1950)
05. Onde Começa o Inferno (Howard Hawks, 1959)
06. 12 Homens e uma Sentença (Sidney Lumet, 1957)
07. Alice no País das Maravilhas (Clyde Geronimi e
Wilfred Jackson, 1951)
08. Rastros de Ódio (John Ford, 1956)
09. Sindicato de Ladrões (Elia Kazan, 1954)
10. Um Corpo que Cai (Alfred Hitchcock, 1958)

Pedro Kerr

Uma década que eu gostaria de explorar mais, ver todos os lados (três filmes a mais, três filmes a menos mudam tudo, fazer tops é uma arte, hehe). Mas o que já vi já torna a época peculiar e interessante, tanto que se vários diretores se repetem. A maioria é fera mesmo.

01. Onde Começa o Inferno (Howard Hawks, 1959)
02. Rastros de Ódio (John Ford, 1956)
03. No Silêncio da Noite (Nicholas Ray, 1950)
04. Um Corpo Que Cai (Alfred Hitchcock, 1958)
05. Johnny Guitar (Nicholas Ray, 1955)
06. O Grande Golpe (Stanley Kubrick, 1956)
07. Crepúsculo dos Deuses (Billy Wilder, 1950)
08. Os Incompreendidos (François Truffaut, 1959)
09. Intriga Internacional (Alfred Hitchcock, 1959)
10. Era Uma Vez em Tóquio (Yasujiro Ozu, 1953)

Daniel Dalpizzolo

Poderia ter fechado a lista somente com policiais e faroestes, são os dois melhores gêneros do cinema e juntos provavelmente digam respeito a pelo menos 50% do que há de mais incrível nessa que foi a grande década do cinema norte-americano - nada mais natural do que os dois gêneros mais típicos dos EUA e dos mais característicos da época serem destaque. Infelizmente, tanto de um quanto do outro lado a lista ficou pouco expressiva, ainda mais por ter conseguido colocar apenas dois faroestes. Mas tinha que dar espaços a alguns filmes de fora dessa esfera, não teve jeito. Depois faço algumas considerações nos comentários.

01. No Silêncio da Noite (Nicholas Ray, 1950)
02. Onde Começa o Inferno (Howard Hawks, 1959)
03. A Marca da Maldade (Orson Welles, 1958)
04. O Homem Errado (Alfred Hitchcock, 1956)
05. Assim Estava Escrito (Vincent Minelli, 1952)
06. Cinzas Que Queimam (Nicholas Ray, 1951)
07. Winchester '73 (Anthony Mann, 1950)
08. O Salário do Medo (Henri-Georges Clozout, 1953)
09. O Alucinado (Luis Buñuel, 1952)
10. Casa de Bambu (Samuel Fuller, 1955)

Cassius Abreu

Uma década sobre a qual ainda tenho muito a conhecer, mas que marca o ápice de Bergman e David Lean, uma grande fase de Billy Wilder e Hitchock, o lançamento de um dos maiores cineastas franceses de todos os tempos, con e o Chaplin melancolicamente falante e tem o único do Buñuel que eu vi - dizem que é o mais normal e mesmo assim é brilhante.

01. O Sétimo Selo (Ingmar Bergman, 1957)
02. Crepúsculo dos Deuses (Billy Wilder, 1950)
03. A Montanha dos Sete Abutres (Billy Wilder, 1951)
04. A Ponte do Rio Kwai (David Lean, 1957)
05. Um Corpo que Cai (Alfred Hitchcock, 1958)
06. Os Sete Samurais (Akira Kurosawa, 1954)
07. Robinson Crusoé (Luis Buñuel, 1954)
08. Luzes da Ribalta (Charles Chaplin, 1952)
09. Disque M Para Matar (Alfred Hitchcock, 1954)
10. Os Incompreendidos (François Truffaut, 1959)

Adney Silva

A fase de ouro do "Mestre do Suspense" na Universal; a fase final do cinema noir e do faroeste (gerando obras fantásticas); Chaplin flertando com o cinema falado, gerando uma das obras mais comoventes dos últimos tempos; a grande disputa no Oscar de 1950 entre dois filmes que criticavam ácidamente duas das maiores indústrias do entreterimento norte-americano na época (Hollywood e Broadway); Lumet e Preminger abordando o mundo dos tribunais de forma memorável; o musical norte-americano através do ícone Gene Kelly, gerando uma das obras mais memoráveis e lembradas do cinema; Kurosawa colocando o mundo dos samurais na vanguarda cinematográfica; David Lean revisitando magistralmente a Segunda Guerra; Bergman nos fazendo dialogar com a Morte através de um jogo de xadrez... Isso é uma tortura!!! Já citei mais de 10 filmes nesse texto!!!!! Vou ter que deixar algum de fora, mas qual??? [desesperado]

Perceberam o porquê dessa década ser uma das mais complicadas (senão a mais complicada) de fazer um top 10?

01. Crepúsculo dos Deuses (Billy Wilder, 1950)
02. A Marca da Maldade (Orson Welles, 1957)
03. No Silêncio da Noite (Nicholas Ray, 1950)
04. Os Sete Samurais (Akira Kurosawa, 1954)
05. Luzes da Ribalta (Charles Chaplin, 1952)
06. Doze Homens e Uma Sentença (Sidney Lumet, 1957)
07. Anatomia de um Crime (Otto Preminger, 1959)
08. A Tortura do Silêncio (Alfred Hitchcock, 1953)
09. Cantando na Chuva (Stanley Donen/Gene Kelly, 1952)
10. O Sétimo Selo (Ingmar Bergman, 1957)

Luis Henrique Boaventura

Junto da de 40, a mais charmosa das décadas, época dos grandes noirs, dos faroestes americanos definitivos, dos Hitchcocks... abrigo dos filmes mais icônicos de todo o cinema. Menções aos demais Hitchs, aos Kubricks, Hiroshima Mon Amour, Rio Bravo, Matar ou Morrer, e Sunset Blvd.

01. Disque M Para Matar (Alfred Hitchcock, 1954)
02. Noites Brancas (Luchino Visconti, 1957)
03. No Silêncio da Noite (Nicholas Ray, 1950)
04. Cantando na Chuva (Stanley Donen/Gene Kelly, 1952)
05. 12 Homens e uma Sentença (Sidney Lumet, 1957)
06. O Mensageiro do Diabo (Charles Laughton, 1955)
07. A Marca da Maldade (Orson Welles, 1958)
08. Rififi (Jules Dassin, 1955)
09. Anatomia de um Crime (Otto Preminger, 1959)
10. Ensaio de um Crime (Luis Buñuel, 1955)

Thiago Macêdo Correia

A década derradeira da old hollywood, digna dos últimos grandes músicais da MGM, grandes estudos de personagens baseados na literatura (Um Lugar ao Sol, Uma Rua Chamada Pecado), grandes momentos de observação da própria arte (Crepúsculo dos Deuses, A Malvada). Mas é também a década do nascimento artístico de alguns gênios, como Fellini, Bergman e Resnais, e reafirmação da maestria de gênios anteriores, como Wilder (em seus melhores momentos, foi difícil colocar somente um filme), Ford e Hawks.

01. Noites de Cabíria (Federico Fellini, 1957)
02. Cantando na Chuva (Stanley Donen, Gene Kelly, 1952)
03. O Mensageiro do Diabo (Charles Laughton, 1955)
04. Quanto Mais Quente Melhor (Billy Wilder, 1959)
05. Rastros de Ódio (John Ford, 1956)
06. O Sétimo Selo (Ingmar Bergman, 1957)
07. Os Sete Samurais (Akira Kurosawa, 1954)
08. Hiroshima Mon Amour (Alain Resnais, 1959)
09. Disque M Para Matar (Alfred Hitchcock, 1954)
10. Onde Começa o Inferno (Howard Hawks, 1959)

Anit començava a València el cicle de Cine d'estiu, al llit del riu. Aquest riu pel que lluitarem i que gaudim especialment en estiu, quan la xafogor dels díes del cim de l'estiu ens empenta a prendre la fresca. No trobe millor lloc a València en aquests díes, llevat dels jardí dels Vivers i la platja.

Bon començament del cicle, Amarcord (Mis recuerdos) de F. Felliní (Italia, Francia 1973) V. O. subt. cast Color. 127’. 35 mm. "Melancòlic i divertit retrat de l'Itàlia entre guerres, controlada pel feixisme i l'esglèsia. Amb l'adolescent Titta i sa família, Fellini rememora i recrea la seua vida en sa ciutat natal durant la primera meitat dels anys 30".   Molt divertida i amb una fotografia impressionant en la meua opinió.

De la cuina tradicional mallorquina és típica la sobrassada i la ensaïmada, productes que, junt a olis, vins i formatges han aconseguit prestigi i denominació d'origen.

Però hi ha un a apartat de la gastronomia de l'illa de Malloca que no per menys conegut té menor importància. Per a mí, fins i tot és la font d'alimentació predilecta quan hi sóc de viatge.

Es tracta de les diverses classes de "panades": els cocarrois de verdura amb panses i pinyons junt a les panades de peix típiques de quaresma,  les panades de carn per la pasqua, les coques de trempó i pimentó, el tumbet o pastís de albergínia, pimentó tomaca i creïlla,  els rubiols o panades dolces. Completa la reposteria els crespells de molts tipus i el gató d'atmella (gató és  l'expressió  illenca per a gateaux que a mí em fa molta gràcia).

Les panades em semblen una solució perfecta per tenir menjar preparat i poder anar tant de festa com al treball. És conserven molt de temps i fer les porcions individuals també és una bona idea. De cocarrois es fan dos tamanys, per dinar o més xicotets per a fer un mós.

Pel què fà als cocarrois em tornen boja, són una delícia per a les vegetarianes com jo. Ací hi ha una recepta:

The opening scene to this film, which came to be known as 8 ½ (although, interestingly, the film's original title was "La Bella Confusione" - The Beautiful Confusion), is one of the most memorable in all of cinema, it shows, with the use of no dialog, exactly how he was feeling at the time leading up to creating this film. It was the perfect opening to his cinematic autobiography in the barest, most pure sense imaginable, presented via Surrealist-like metaphor. It shows the slow suffocation, the distorted, fever dream-like anxieties of people watching him and expecting something, it also shows his sudden liberation. How do you portray these presumably complex emotional dispositions with no dialog? Is it possible to relay such a textured message on the strength of images alone?

The first shot we see is the camera, omnisciently floating behind Guido's car, then we get an establishing shot; a huge amount of cars surrounding him on the road; everyone seems to be languishing around him. We enter a tunnel, but we stop, we do not make it out the other side in our automobile, we are trapped. Guido becomes self-aware, surrounded by these people he doesn't understand, staring back at him... he feels everyone looking on disapprovingly, he is judged, mocked. Apprehensively, Guido wipes at his window with his handkerchief attempting to clean up his appearance perhaps, make sure he is presentable; re-affirm his mask. He first notices an unknown figure staring back at him intently from the car in front of him, almost in shadow, and immediately gas starts filling his car. What is this man a harbinger of? Guido tries to escape, yet he is trapped in this modern cage where everyone just stares, watching his every move. The gas continues to pour in, he continues trying to break the window and then suddenly he is out, but did he break the window himself or did someone else just allow it to open?

So we saw the mundane occurrence of being stuck in traffic used as a metaphor for being, as explained earlier, slowly suffocated, which of course, the noxious gas filling the car very literally represented. Fellini paused on the faces of the other drivers as they watched our protagonist, waiting, expecting something, the pressure of their expectations. Also present are various people personally connected to him in his life, distractions perhaps, or even excuses for avoiding his art. They all seem grotesquely distorted through this glass ‘house' Guido is currently residing within. He tries to break the windows of the car out, yet he is unable, only through the manipulation of his reality is he able to escape, to find freedom. He is suddenly able to crawl out of the window with no real indication of how. He is just able, where once he was trapped, he is now suddenly, in a flash, freed... much like the strike of true artistic inspiration; sudden and inexplicable. This is the very plight Fellini was going through while trying to write this film. Only through the examination and subsequent abstraction of his personal situation did he finally find he did have a story to tell. Then we see the main character of Guido flying through the clouds, liberated and soaring. However it is only for a short while, as soon he finds he is still tied down to the real world; he tries to unfetter himself, yet is ultimately yanked down from his peaceful and lucid isolation by the sordid dealings of reality. "Down for good", read off from some documents as if it is an official sentence, then, as he falls back to the cruelly imposed earth of business and anxieties he is awoken in his hotel room, engulfed by both of these avatars of his despair.

Definitely one of the most brilliant opening sequences to a film I can recall. With just the basic language of film; image and sound, we are given all the information we need. To discerning viewers this must surely stand as a definitive benchmark for the powers of purely visual story-telling, the foundation of film as an art form.

Já li por aí que Fellini faz filmes maiores que a vida. É o mesmo que eu sinto e não posso deixar de afirmar que nenhum cineasta me comove tanto quanto o cara. Aqui ele fez uma grande homenagem aos palhaços de circo em forma documental e com super senso estético.  Sua fascinação, nostalgia, melancolia e medo dos palhaços não deixam de contaminar o espectador com gotículas no canto do olho[no meu caso, eu sempre desprezei os pobrezinhos, revertendo a situação agora....PPP].  O original é o toque autobiogáfrico e o trabalho da própria equipe pela frente das câmeras. Tudo bem que é tudo ensaiado, mas não deixa de dá a sensação de que por trás das câmeras, ou de frente à telona, todos somos um pouco clowns. Tres magique!

E Dercy Gonçalves morreu! O mundo vai ficar mais triste... De volta ao útero da Grande Mãe...

[caption id="attachment_119" align="aligncenter" width="405" caption="Fellini - Trot Study, 8x10 oil on canvas panel"][/caption]

My next oil study created in a wet-in-wet process is of Fellini. Fellini is a 2006 Hanoverian colt, by Fabuleux out of Malawi by Maurice. Bred by Chris VonGartzen of Northwinds Farm, Erin Ontario. Click on his page to learn more about Fellini.

Fellini is bred for dressage. He has expressive gaits, and while in this image he has a fairly casual trot up front, I wanted the focal point to be on the outside hind leg and the line up towards his stifle. This is his engine, which will make him a great dressage horse one day.

This guy is so damaged and yet he has created so many amazing songs. You forget how far ahead of everyone he was when it came to song writing and arranging. And you look at him now and you can see he is so heavily medicated and yet his backing band is amazing with all of the arrangements. Check out both movies if you want to see something amazing.

Your Angry Filmmaker Tip.

When I was in Film School, I realized that film was so much more than I thought. It wasn't just a way to tell a story (which is still important); it was a way to truly communicate with an audience. To use film as a way of saying things. To protest, to educate, to enlighten.

- - from The Angry Filmmaker Survival Guide (coming really soon)

When I first went to film school I had modest goals, I just wanted to make Hollywood films, like the ones that I grew up with. When I got there I was thrown in with all of these people who said they were influenced by Godard, Fellini, Bergman and others. Film was considered an art form to these people and they all seemed very serious about what they wanted to do. When I had to get up in front of the class and say that I just wanted to make films to entertain you could’ve heard a pin drop. The faculty and a lot of the other students wrote me off at that moment. I had a few instructors that I couldn’t buy a decent grade from, because I was that guy “who just wanted to entertain”.

It was while I was in school and watching films that were not only assigned but were also being screened for other classes, or on weekends that I truly realized what film was all about. I had a conversion if you will. I realized that I didn’t know shit about film, film history or anything that was important. (Although I still think that Citizen Kane is not only NOT the best movie ever made, but it’s not even Welles best film.)

I felt like I was playing catch up the whole time I was there, and even the first few years I was out of school and working. Growing up I didn’t watch films, I watched movies. \Lots of westerns and war movies with my Father who rarely talked about fighting in WWII. If he did talk it was usually because we had just seen something in a film that he either agreed with or laughed at.

I don’t think the filmmakers of today have any knowledge of the past when it comes to films. They don’t believe that any films were made before 1985 and if any films were made they’re in black and white and boring. I think that’s why most of the mainstream movies are so bad today. Its one thing to know that the people who run the studios also have no knowledge of film history, but the fact that the filmmakers themselves are nothing more than “Commercial Directors” is something that really bothers me.

Directors are lauded for doing things with special effects and not for using film as a means of expression. It’s bad enough that young filmmakers today idolize filmmakers who aren’t very talented, (Yes I’m talking about you Michael Bay). I know that films have always been a business and the moguls would make commercial films to make money so that they can make movies that they felt were important, but when was the last time a film came out of Hollywood that was really important?

I love mindless entertainment as well as the next person, and I will go see Hell Boy 2 just because I thought the first one was a lot of fun. But I am getting sick and tired of being fed junk food by a bunch of people who wouldn’t know a smart and important film if it bit them in the … you know what I’m saying.

If you are serious about making films, then learn your film history. See classic and foreign films and draw inspiration from them. Don’t draw inspiration from bad TV shows you grew up watching, or from toys and computer games.

Give us a reason to go to the theater and not just so you can take our $10 and try to over whelm us with loud noise and special effects. After a while even the hungriest kid gets tired of nothing but Twinkies.

Other stuff.

Internet Special!!!!

Go to www.angryfilmmaker.com and check out The Angry Filmmaker Work Books. They are packed with lots of good info and are a real bargain at a mere $10 each or the set of three for $25 (plus S&H). If you order all three work books, (Pre-Production, Production, and Post-Production) before July 15^th, 2008 I will send you a free DVD copy of Kicking Bird. That’s all three books plus a Kicking Bird DVD for $25 + $9 S&H.

This special has gone so well that I am going to extend it to July 20^th, 2008!!!

And just a reminder, I am available to consult on your films.

What do you get out of the deal? You get the best value and advice in making your film. No matter what stage you’re in. I’ve been in the business for 25 years, working on everything from animation to live action, Independent features, Real Independent features, Hollywood studio stuff, and documentaries. If you check out my bio and filmography (www.angryfilmmaker.com/who.htm) you’ll see I’ve worked on award winning films, and films that never got distribution.

I will look at your work honestly and objectively. If there are problems, I’ll point them out, in a constructive way. No one wants to hear, “This sucks!” My goal is to guide you through the process, so that you can see what the problems are, and we’ll come up with ways to fix them. Check out (www.angryfilmmaker.com/consulting.htm.)

My Masters Class, Making the Extreme Low Budget Film has been re-scheduled for August 18^th thru September 5^th in Franklin, Indiana. Check out www.independentcinema.net for more information as it becomes available.

As always,

Talk later,

Kelley

www.angryfilmmaker.com

www.myspace.com/theangryfilmmaker

www.youtube.com/theangryfilmmaker

]]> http://puttafilmes.wordpress.com/?p=4 Wed, 16 Jul 2008 02:59:40 +0000 ingridsybele http://puttafilmes.wordpress.com/?p=4 Mesmo que não há la nave va. Para entender melhor: esse filme foi todo gravado em studio não ha a nave mas a a nave vai. E assim ela lava ao mar uma tripulação de famosos para depejar as cinsas de uma famosa cantora de opera ao mar na região em que ela nasceu. O filme é lindo e tem uma das melhores musicas instrumentais que ja ouvi Claire de la lune do Claude Debussy.

Entre as historias que acontecem dentro do navio podemos ver a de um rinoceronte que tem caganeira e os viajantes só descobrem que ele está no navio por causa do cheiro. Obvio. Mas o mais legal é que o rino tem caganeira no filme por causa da infancia do Fellini diretor do filme, ele disse que quando trabalhou em um circo tinha uma zebra com caganeira e ele achava que ela tava assim por amor, ai ai, imagina se toda vez que sofremos por amor desse uma caganeira..ui ui.

Outros detalhes do filme é que ele é todo narrado, o mesmo nos põe a par da historia que se passa, e tambem tem o inicio sem som e preto e branco, nesse momento que acontece uma das cenas mais engraçada do filme, vejam não vou contar. depois o filme se torna colorido e com falas.

Não vou fazer analises mais profubdas, como da sociedade com o filme, mas deixo o espaço aberto.

Então, o filme não é pra se assistir em uma tarde de domingo, mas vale a pena ser visto. Espero que gostem da indicação.

rinoceronte no belo e realista mar de Fellini

"Sevgililerim... Mutluluk, kimseyi incitmeden doğruları söyleyebilmektir."

Sinema neden yıllardan beri vazgeçilmez bir sanat dalı? Yıllar geçtikçe bazı görsel sanatlar eski etkileyiciliğini ve çekiciliğini kaybettiyse de insanlar için, en azından geneli için konuşursak, sinema gün geçtikçe güçlendi. Günümüzde sinema kadar insanları birbirine yaklaştıran bir de futbol var ki o da bambaşka bir fenomen. Sinema neden diğer görsel sanatlar gibi bireysel bir çabaya indirgenmeksizin, kitleler üzerindeki etkisini bu denli koruyabildi? Sanırım bu sorunun birkaç kitaba sığacak cevabını şöyle özetleyebiliriz: 8½ gibi filmler sayesinde!

"Ama bu karmaşa ''ben''im!

Ben benim olmak istediğim değil.

Ve artık korkmuyorum.

Gerçeği söylemekten,

bilmediğimi,

aradığımı henüz bulamadığımı

söylemekten.

Yalnızca bu şekilde canlı

olduğumu hissediyorum.

Ve sadık gözlerine utanç

duymadan bakabiliyorum.

Bir şenliktir hayat.

Birlikte yaşayalım!" 

Çünkü sinema görselliğin yanında, işitsel ve "iç"selliğin doruklarında gezinen 7. sanat dalıydı. İnsan her zaman istediğini, aradığını beyazperdede bulabilirdi. Tıpkı Federico Fellini'nin başyapıtı gibi. Yüz yirmi dakika sizi düşündürüp, kafanızı karıştırıp, "Yok artık, bu kadar da basit bir düşüncenin filmi olmamalı bu izlediğimiz." dediğiniz anda o basit durumla fark ettirmeden sizi vuran bu film zamanında nasıl bir etki yarattı bilmiyorum (Kazandığı en iyi yabancı film Oscar'ı dışında.). Ancak şu bir gerçek ki hem sinemasal hem de düşünsel olarak 1963'te çekilmiş bu filme saygı göstermemek imkansız.

- Yaklaşık kaç sahnesi olacak?

- Ne anlamda?

- Kaç sahnesi olacak?

- Beş.

- Sadece beş mi?

- Belki altı ya da yedi de olabilir.

- (!)

Filmin konusu çok basit: İlham perileri uçup gitmiş başarılı bir yönetmenin yeni bir film çekimine başlaması ve bu başlangıcın gittikçe ızdırap verici bir hal alması. Fellini üzerinden kendini anlattığı Guido'yla özel hayatının gizli saklı kalmış sırlarını ve kadınlarını içten bir şekilde ifşa ediyor.

Filmin en güzel sahnelerinden biri de Guido'nun hayalinde kurduğu haremi. Hayatına girmiş tüm kadınlar etrafında ona hizmet ediyorlar. Karısının herşeye "Evet." dediği, platonik aşıklarının banyodan sonra üstüne pudra serptikleri, yaşlanan sevgililerini kendi koyduğu kurallara göre üst kata "sürgüne" gönderdiği bir harem bu. Bir acayip yani, ama harika bir sekans, filmin bilinçaltı patlamalarından bir tanesi. 

Yönetmenin yaşadığı ikilemler, çıkmazlar, dehlizler büyüdükçe büyüyor ve kendi hayatını özetlediği bir sahne gösterisine dönüşüyor bu film. Hayatına giren bütün insanlarla dans ederek kaybolup gidiyor Guido filmin sonunda.