In this presentation for the 1969 Academy Awards, an international coalition of directors discuss film censorship and the changing mores of filmmaking that they began to witness as views on sex widely shifted (stick around for Sergei Bondarchuk’s declaration that “nudity leads us into the arms of evil”). So here is some free advice (for fans and filmmakers alike) from no doubt the most Felliniesque director. He is a filmmaker of enormous influence – yet, as Paolo Sorrentino demonstrated with The Great Beauty, it is better to tip our hat and pay homage than to imitate the unparalleled. There are few filmmakers whose style has remained so distinctive through an array of transitions, from social realism to fantastic spectacles. The Felliniesque can see beauty in the mundane, and abject horror in the most fantastic of experiences. The Felliniesque acknowledges the potential for life to reach orgiastic highs and desperate lows in one fell swoop, and finds adults constantly haunted by the memories, trials, and joys of childhood. But few proper nouns-turned-adjectives carry a greater reserve of meaning than Felliniesque.įelliniesque can refer to a carnival style, one that bends and toys with supposed distinctions between reality and fantasy. Transforming a filmmaker’s name into a qualitative term has been a common practice in tracking the style and influence of those who have contributed to the art form.
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