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La Dolce Vita(La dolce vita)

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Italy, France · 1960
2h 56m
Director Federico Fellini
Starring Marcello Mastroianni, Anita Ekberg, Anouk Aimée, Yvonne Furneaux
Genre Comedy, Drama

An episodic journey of love and hedonism, La Dolce Vita follows Marcello Rubini, a sleazy paparazzo, on his search for romance and happiness. Stumbling through life with a penchant for booze and sex, the writer embarks on a journey which leads him to question whether the "sweet life" is really sweet after all.

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What are people saying?

Yasmeen Gaber Profile picture for Yasmeen Gaber

This classic was a prescient analysis of what would become our obsession with celebrity, with Fellini coining the term "paparazzi." Along with social criticisms, this film is full of psychoanalytical puzzles and aesthetic beauty. A must-watch for any cinephile.

What are critics saying?


TV Guide Magazine by

After nearly three hours Fellini's relentlessly enigmatic, non-committal approach leaves you wishing for something more than poignant imagery and moody, self-obsessed characters. (Review of Original Release)


Chicago Reader by Dave Kehr

The film was hugely successful and widely praised in its time, though it's really nothing more than the old C.B. De Mille formula of titillation and moralizing--Roman orgies and Christian martyrs--with only a fraction of De Mille's showmanship.


Village Voice by Michael Atkinson

In one movie, at least, the ethical baseline (heisted, you could argue, from "Sweet Smell of Success") gave Fellini's roaming, cluttered mise-en-scène a chilling gravity he could never genuinely locate again.


San Francisco Chronicle by Mick LaSalle

In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work.


Chicago Sun-Times by Roger Ebert

The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord'').


Boston Globe by Wesley Morris

Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.

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