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Jesse 2022-03-28 09:01:04

The great directors I've seen who can combine reality with bizarre imagination are fat dudes like Fellini and Fassbender. The series of festive drinks and parties is like a wonderful circus with no beginning and no end, and the pungent irony is hinted at by the light-hearted, sensual scenes. The Italian interpretation of the void in modernity is full of whimsy and wonder, so different from the French films that appeal to the same theme, yes, the flesh is full of metaphors.

Obie 2022-03-27 09:01:09

From the perspective of the film and the director, it is the statue of Jesus flying over the Eternal City, overlooking all living beings; from the perspective of the story and the characters, it is the strange fish who came ashore to wake up the human dream, staring at the world of farewell, just like Marcello staring at the past life He ideal, it is difficult to rest his eyes, but "I have been dead for three days", it is completely dead (desperate). As Fellini himself said, his title is not meant to express "the sweet life", but "the sweet life". Life itself is hard, it's those occasional moments of sweetness and hope that drag people forward, but they wake up again and again (the American man's fist and slap after the sweetest fountain scene is the most obvious meaning), and finally The bitterness is too much, and the sweetness of honey can no longer be tasted - the voice of the girl on the other side is covered by the waves of life, and he will never go back. As for the audience watching this step-by-step fall, whether to bring themselves into the statue of Jesus or a dead fish, it depends on whether they are lucky enough in real life. ps. Paparazzi paparazzi word comes from this