8½

★★★★½

"Destroying is better than creating when we're not creating those few, truly necessary things. But then is there anything so clear and right that it deserves to live in this world? For him the wrong movie is only a financial matter. But for you, at this point, it could have been the end. Better to quit and strew the ground with salt, as the ancients did, to purify the battlefields. In the end what we need is some hygiene, some cleanliness, disinfection. We're smothered by images, words and sounds that have no right to exist, coming from, and bound for, nothingness. Of any artist truly worth the name we should ask nothing except this act of faith: to learn silence. Do you remember Mallarme's homage to the white page? And Rimbaud... a poet, my friend, not a movie director. What was his finest poetry?His refusal to continue writing and his departure for Africa. If we can't have everything, true perfection is nothingness."


8½ is an incredibly good surrealistic film. Surrealism in film is something I'm not very familiar with yet, in the visual arts I'm already a big fan of it, but after watching this film I'm looking forward to watching more. I love the craziest thoughts, fantasies and memories that are turned into strong dialogues and scenes by Fellini. The film itself is about making a film. It tells the story of a director who does(n't) make a film and during that process his dreams and reality flow into each other. This constant switch allows Fellini to keep the viewer's attention. On top of that, it creates a feeling that the viewer looks into the thoughts of the main character, which makes you feel very connected and arouses a form of compassion. In this way the viewer can better understand the criticism of the film industry, which may initially be a world in which one is not at home.

In addition, the film is of an improbably high cinematographic level. First of all, it is one of the strongest black and white visuals I have already seen, concretely the strong contrasts used, for example in the car scene at the end of the film. Secondly, it was striking how the camera so fluently follows a person and then switches to someone else, and how when an event takes place in the background suddenly something else appears in the foreground in the image.

Stepping on Fellini's cloud of dreams and thoughts was worth it.

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