The White Sheik to The Voice of the Moon: neorealism turning into carnival.
Fellini's waif and strongman on the road; Giulietta Masina's face does the rest.
A director with nothing to say makes a film about that; Fellini's masterpiece.
A wife's visions in Fellini's first colour film, made for Giulietta Masina.
A honeymooning bride runs off after the star of a photo-comic; Fellini's first solo feature.
Five young men idle away their twenties in a seaside town; the film Scorsese keeps remaking.
Petronius as a hallucination: Nero's Rome with no moral centre at all.
An opera singer's ashes are carried to sea in 1914, on a ship of absurd mourners.
Two retired dancers reunite for a television special; Masina and Mastroianni.
Benigni wanders a countryside listening to wells; Fellini's last film.
Fellini films a crew filming Fellini at Cinecitta, with Mastroianni as Mandrake.
Small-time swindlers dress as priests to rob peasants, and one of them tires of it.
Donald Sutherland as a mechanical seducer in a Venice built entirely in the studio.
A Roman prostitute keeps hoping; the ending smile is one of the great last shots.
A year in Fellini's Rimini under Mussolini: peacocks in snow, the ocean liner at night.
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