Marcello Mastroianni
Guido Anselmi
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8½ was voted the best foreign (i.e. non-Swedish) sound film with 21 votes in a 1964 poll of 50 Swedish film professionals organized by Swedish film magazine Chaplin . The Village Voice ranked the film at number 112 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.
8½: Directed by Federico Fellini. With Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo. A harried movie director retreats into his memories and fantasies.
- (125K)
- Drama
- Federico Fellini
- 1963-06-24
8 1/2 (English Subtitled) 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 8½ turns one man's artistic crisis into a grand epic of the cinema. An early working title was The Beautiful Confusion, and Fellini's ...
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 ...
- Guido Anselmi
Screenplay. Written by Filipe Manuel Neto on October 16, 2023. Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with ...
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One of the greatest films about film ever made, Federico Fellini’s 8½ turns one man’s artistic crisis into a grand epic of the cinema. An early working title for 8½ was THE BEAUTIFUL CONFUSION and Fellini’s masterpiece is exactly that: a shimmering dream, a circus, and a magic act. (Janus Films) Updated COVID-19 Protocols Dear Friends,
Jan 12, 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 ...
