Films in Fellini Dream Double Bills

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  • Atom Egoyan: Federico Fellini’s 8½ and Rainer Werner Fassbinder’s Beware of a Holy Whore

  • “Frustrated directors waiting for things to happen in hotels.”

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  • James Schamus: Federico Fellini’s Toby Dammit and Dario Argento’s Suspiria

  • Guillermo Del Toro in attendance! “We tend to cordon off Fellini into an auteur ghetto that separates him from much of Italian and world cinema pop culture. But by pairing Toby Dammit with Suspiria, we can see immediately the debt both Fellini and Argento owe to pulp giallo fiction and movies, blurring the boundaries between high and low that continue to make a full appreciation of Fellini difficult.” —James Schamus

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  • Apichatpong Weerasethakul: Federico Fellini’s Roma and Terry Gilliam’s Brazil

  • “Dreams and memories merge. They are beautifully decadent. I remember watching Roma and feeling like I was flying through time. Roma is science fiction the same way that Brazil is a historical documentary.”

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  • Isabella Rossellini: Federico Fellini’s La Strada and Charles Chaplin’s Limelight

  • “I like the pairing of La Strada with Chaplin’s Limelight: both are about clowns, they are both sad and funny and both offer kind of ‘life lessons.’ These films have the power of a grandmother’s voice when she puts a child to bed, and tells stories that will stimulate good dreams instead of nightmares.” —Isabella Rossellini

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  • Jesse Wente: Federico Fellini’s Juliet of the Spirits and Michel Gondry’s Eternal Sunshine of the Spotless Mind

  • “Blending the real and the surreal with its hypnotic and even hallucinogenic visuals, Fellini’s Juliet is an almost trance-like experience that is echoed by Gondry’s dreamscape romance, another vivid trip through a mind fighting against itself.” —Jesse Wente

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  • Piers Handling: Federico Fellini’s Fellini’s Casanova and Hal Ashby’s Shampoo

  • “Where Fellini’s opulent period piece deploys baroque imagery to paint a dazzling but ultimately grotesque portrait of the obsessive seducer (played by Donald Sutherland), Hal Ashby uses the mumbling charm of Warren Beatty to update the tale. Like Sutherland’s vampiric eighteenth-century pick-up artist, Beatty’s hip L.A. Lothario never knows when enough is enough, or what is actually good for him.” —Piers Handling

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  • Miranda July: Federico Fellini’s La Strada and Jane Campion’s An Angel at My Table

  • “In my heart there is another version of La Strada where Gelsomina eventually finds her way, like Campion’s Janet Frame, and gets to feel how much we love her.” —Miranda July

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  • Frédéric Boyer: Federico Fellini’s City of Women and Frank Perry’s The Swimmer

  • “Fellini’s lighthearted swipe at male chauvinism and Perry’s disenchanted allegory of bourgeois America offer two distinct but unified incarnations of modern man in Mastroianni and Burt Lancaster, torn between wonder and disillusion as he discovers the world around (and within) him.” —Frédéric Boyer

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  • Molly Haskell: Federico Fellini’s I Vitelloni and Barry Levinson’s Diner

  • “The ‘overgrown calves’ of Fellini’s early masterpiece may be said to have inspired or influenced a whole series of movies about male bonding and arrested adolescence, but none seems as close (or as nearly a classic) as Barry Levinson’s Diner.These nostalgic but clear-eyed portraits of aimless buddies, hanging out and postponing adulthood, were themselves autobiographical rites of passage for their directors as they cast a fond backward glance at small-town adolescence.” —Molly Haskell

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  • Deepa Mehta: Federico Fellini’s Nights of Cabiria and Satyajit Ray’s Devi

  • “I could give many reasons for the affinities between (and the greatness of) these films, but mostly it’s how both Fellini and Ray walk the difficult line between reality and the wondrous, and of course the compassion that pours out of them right into their characters.”—Deepa Mehta

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  • Radley Metzger: Federico Fellini’s The Clowns and Marcel Carné’s Children of Paradise

  • “Both The Clowns and Children of Paradise depict the basic performing artist: the clown and the street performer.In both cases the artist is naked for all the world to see:he has neither elaborate sets nor a script, only himself with which to engage, mystify and edify his audience.” —Radley Metzger

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  • Noah Cowan: Federico Fellini’s Fellini Satyricon and Derek Jarman’s Sebastiane

  • “Although these two films seem largely connected through their breathtaking and revolutionary homoeroticism, they also share a fascination with ancient times, and the absurdity of trying to bring that age to life on the big screen. Taking the barest of suggestions—fragments of Pompeii paintings, Renaissance mythmaking—they construct ravishing, complete worlds that also go to great lengths to undermine their own credibility. This self-destructive impulse somehow frees the filmmakers to create fantastical, poetic conceptualizations of life, love and sacrifice that have yet to be equalled.” —Noah Cowan

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  • La Dolce Vita – Food and Film

  • Exclusive for TIFF Members and Supporters, TIFF and Oliver & Bonacini are pleased to offer a delectable food and film pairing on Sunday August 28, 2011.

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