Roma

Roma

fellini's reputation as a middlebrow chronicler of extravagance is very odd to me because this shit is some of the most avant-garde cinema non-brakhage division out there. even someone like malick chronicles a broad emotional throughline through his narratological presentation of dasein. fellini just throws all of these different impressions of what he's interested in communicating, if that's one set objective at all, and then it works in this piecemeal form where every one part helps contextualize the other into a unitary whole. none of these post-acid movies of his work for me on first watch-through at all because i'm constantly getting bombarded with these images and complete emotional saturations that i have no idea what to do with. revisiting amarcord will probably be the first time i get a real sense on how this branch of fellini's work really registers with me when i'm keeping up. the direction is amazing, though, and some of these scenes are stunningly powerful in isolation.

italy's sacrifice to the gods was being the woat country non-france edition and getting good artists/directors in exchange. france is just permanently in prison.