Amacord (Italy, 1973)

At this point in his career, Federico Fellini could pretty much write his own ticket, and he did indeed, with a vivid immersion into fragmentary adolescent memories of a seaside Roman hometown (reminiscent of the filmmaker’s own Rimini) under Mussolini in the 1930s. The plot is basically a procession of affectionately outsized magical-realist vignettes, of Volpina, the village prostitute; of the smug, bullying Blackshirts; of school; of arguing parents and daffy family; of pubescent sexual awareness and awakening (see: Volpina, the village prostitute); of Catholic church ominously co-existing with a giant icon-like portrait of Il Duce fashioned from rose petals; of the children and citizens playing in a rare snowfall; of mentally ill Uncle Teo hiding up in a tree, naked, shouting “I want a wooooooooman!” It’s Fellini’s world, and we’re just privileged to live in it, at least while the projector whirrs. An Oscar winner for Best Foreign-Language Feature. Cleveland Institute of Art Cinematheque. At 7:20 p.m. Saturday, April 4, and 3:45 p.m. Sunday, April 5. HHHH
Scroll to read more Movie Reviews & Stories articles
Join the Cleveland Scene Press Club

Local journalism is information. Information is power. And we believe everyone deserves access to accurate independent coverage of their community and state.
Help us keep this coverage going with a one-time donation or an ongoing membership pledge.

Newsletters

Join Cleveland Scene Newsletters

Subscribe now to get the latest news delivered right to your inbox.