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27 mag 2020 · 8½: un film percorso dall’inquietudine esistenziale e dal desiderio di trovarvi risposta. Marcello Mastroianni è Guido Anselmi, regista alle prese con una crisi creativa e personale. Persiste ...
8½. Directed by Federico Fellini • 1963 • Italy. Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life. One of the greatest films about film ever made, Federico Fellini's 8 1/2 (Otto e mezzo) turns one man's artistic crisis into a grand epic of the cinema.
Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life. One of the greatest films about film ev...
15 apr 2021 · Recensire 8½ è un'impresa proibitiva che lascio a critici professionisti - ma solo i migliori ne sono capaci - e blogger smaliziati. Questo è un invito alla visione di 8½, il film più importante di Federico Fellini e tra i più significativi della storia del cinema. Perché, per certi versi, 8½ è il film per eccellenza.
One of the greatest films about film ever made, Federico Fellini’s 8½ marks the moment when the director’s always-personal approach to filmmaking fully embraced self-reflexivity, pioneering a stream-of-consciousness style that darts exuberantly among flashbacks, dream sequences, and carnivalesque reality, and turning one man’s artistic crisis into a grand epic of the cinema. Marcello ...
12 gen 2010 · 8½: a bizarre and puzzling title, but one precisely appropriate for this film, which announces in its first frame that modernism has reached the cinema. If the mark of modernism in art is self-reference, 8½ surely goes beyond any predecessor in having itself as its subject. By 1963, Federico Fellini had made, by his count, seven and a half films. Hence 8½ is like an opus number: this is ...
One of the greatest films about film ever made, Federico Fellini’s 8½ marks the moment when the director’s always-personal approach to filmmaking fully embraced self-reflexivity, pioneering a stream-of-consciousness style that darts exuberantly among flashbacks, dream sequences, and carnivalesque reality, and turning one man’s artistic crisis into a grand epic of the cinema. Marcello ...
