Federico Fellini (January 20, 1920 -October 31, 1993) was an Italian film director and scriptwriter. Known for his distinct style that blends fantasy and baroque images, he is considered one of the most influential filmmakers of the 20th century, and is widely revered. He won five Academy Awards including the most number of Oscars in history for Best Foreign Language Film.
The first table is dedicated to the most common and important figures of the films of Fellini.
The lack of detail and the space between a figure and the other shows the faces in their singular importance.
In the upper left is Bruno Zanin in "Amarcord" who plays a young Fellini in a Rimini rebuilt according to the imagination of the director.
Continuing clockwise, Sophia Loren, contemporary female icon of Fellini, who has always followed in the footsteps even if never working for him and finally met him in 1993, handing him the Oscar prize for his career.
Then, Marcello Mastroianni , actor and best friend who best married the philosophy and the world of Fellini , and who was also present at the delivery of the awarding of the Oscar prize for his career along with Loren.
At the center, the image perhaps best known in the world of Anita Ekberg in "The sweet life”. It symbolizes the many women in the life of Fellini, inside and outside the film.
And finally, Giulietta Masina, his wife and the star of some of his films, as in "The White Sheik ", "The Road " and " Nights of Cabiria ."
A faint background identifies the huge scaffolding in the film " 8 ½ ", the projection of an incident that really happened to the director and to be considered among the most beautiful films ever made. The film is also the first that Fellini directs independently.
The word "Cinecittà", same as the sign present at the input of the plant, is another tribute to the world of Fellini and his love for Cinecittà.
The lack of detail and the space between a figure and the other shows the faces in their singular importance.
In the upper left is Bruno Zanin in "Amarcord" who plays a young Fellini in a Rimini rebuilt according to the imagination of the director.
Continuing clockwise, Sophia Loren, contemporary female icon of Fellini, who has always followed in the footsteps even if never working for him and finally met him in 1993, handing him the Oscar prize for his career.
Then, Marcello Mastroianni , actor and best friend who best married the philosophy and the world of Fellini , and who was also present at the delivery of the awarding of the Oscar prize for his career along with Loren.
At the center, the image perhaps best known in the world of Anita Ekberg in "The sweet life”. It symbolizes the many women in the life of Fellini, inside and outside the film.
And finally, Giulietta Masina, his wife and the star of some of his films, as in "The White Sheik ", "The Road " and " Nights of Cabiria ."
A faint background identifies the huge scaffolding in the film " 8 ½ ", the projection of an incident that really happened to the director and to be considered among the most beautiful films ever made. The film is also the first that Fellini directs independently.
The word "Cinecittà", same as the sign present at the input of the plant, is another tribute to the world of Fellini and his love for Cinecittà.
The second table refers exclusively to the film " The sweet life ", with Marcello Mastroianni (Marcello Rubini in the film) and Anita Ekberg (Sylvia ) in one of the most famous scenes of Fellini’s cinema.
The expressions of the two protagonists have been slightly modified to eliminate the serene expression visible in the frame of the film, giving way to the pain and nostalgia that the eternal work of Fellini, has towards his father. The hand of Marcello seems to want to touch the face of Fellini, only one of the four faces to have white hair and look more faded, evanescent .
The clouds as frames are an additional element associated with the disappearance of the director.
The text is taken from the poster proposed at the film's release in theaters.
The expressions of the two protagonists have been slightly modified to eliminate the serene expression visible in the frame of the film, giving way to the pain and nostalgia that the eternal work of Fellini, has towards his father. The hand of Marcello seems to want to touch the face of Fellini, only one of the four faces to have white hair and look more faded, evanescent .
The clouds as frames are an additional element associated with the disappearance of the director.
The text is taken from the poster proposed at the film's release in theaters.
The third and last table is not present on this site. Here the description:
" The world of cinema has sucked me in, but I wanted to be a magician"
The third and final panel is dedicated to the most inner and lesser-known aspects of the artist, his childlike curiosity towards the esoteric and to synchronicity , towards " the formula" .
"Everyone lives in his own fantasy world, but almost no one is aware.
No one perceives the real world.
Everyone calls his own personal fantasies absolute truth.
The difference between me and the rest of the world that I am aware of the illusion, that's how I chose to live, and I suffer for anything that disturbs my visions ... "
(Federico Fellini)
