Fellini Finale: Ginger and Fred (1986)

Over the last two years, I’ve been making my way through Criterion’s Essential Fellini box set. Starting with Variety Lights (1950 or 1951, depending on where you check) and ending with Intervista (1987), this beautiful set included most of Fellini’s films – though not all, skipping for instance the acerbic English-language Fellini’s Casanova (1976), in which a bewigged, increasingly ridiculous Donald Sutherland fornicates his way across Europe, getting further and further away from anything approaching happiness, or even pleasure, in the process.

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Forever Fellini: Intervista (1987)

And there we are: the final film on Criterion’s Essential Fellini box set, Intervista. It’s not Fellini’s final film: the director would go on to make The Voice of the Moon, released in 1990 and starring Marmitey Italian comedian Roberto Benigni, but even if the decision not to include that one was down to rights issues, Intervista feels like the right end point, seeing how it is about filmmaking, memory and finding that decades have passed and all of a sudden you’re an old man.

Also, quite literally and more than any other film by the director, Intervista is about the man himself: Federico Fellini.

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Forever Fellini: And the Ship Sails On (1983)

It’s a conundrum: this late in Criterion’s Essential Fellini box set, I didn’t expect to find a film I’d like as much as And the Ship Sails On – but at the same time, I ended up finding it more frustrating than many of the films I liked considerably less. There is a lot I love about And the Ship Sails On – but it feels like by the time Fellini made it, he had mellowed with age, and in this case I wish he hadn’t. The film is too loving and mild as satire, when the themes it addresses would have required a sharper sensitivity, one that isn’t averse to drawing blood… and this shortcoming is much more obvious in 2025 than in 1983.

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I’ll be in my trailer… watching trailers: Do the monkey!

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Whether you’re a martial arts fan or not, don’t miss this week’s Six Damn Fine Degrees, in which Julie writes about the Hong Kong extravaganza Iron Monkey, starring Donnie Yen.

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Forever Fellini: Fellini’s Casanova (1976)

Giacomo Casanova: a man of many talents (allegedly). Check out his Wikipedia entry – which he would have probably loved doing! – and you’ll find that he “was, by vocation and avocation, a lawyer, clergyman, military officer, violinist, con man, pimp, gourmand, dancer, businessman, diplomat, spy, politician, medic, mathematician, social philosopher, cabalist, playwright, and writer”. (Wikipedia’s “citation needed” never seemed more apt.)

Yet, ask anyone what they know about Casanova, and they’ll tell you one thing: he was the lady’s man, a playboy extraordinaire, a big hit between the sheets. No one remembers the diplomacy, the philosophy, the writing. He might as well have been little more than a walking phallus, a sex toy with aristocratic aspirations.

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I’ll be in my trailer… watching trailers: Forget me not

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Remember this week’s Six Damn Fine Degrees instalment, or have you already forgotten it? Continuing from the theme of revenge of the previous week, Matt looks back at the first film by Christopher Nolan he saw, Memento – which, while not perfect, is still his favourite movie by the director.

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Forever Fellini: Amarcord (1973)

It seems that Fellini’s Amarcord, a semi-autobiographical film inspired by the director’s childhood in and around Rimini, is a tremendously easy film to like. Critic Vincent Canby called it “Fellini’s most marvelous film” and “extravagantly funny”, while Roger Ebert described it as “a movie made entirely out of nostalgia and joy”.

Me, though? More than halfway into Amarcord, I would have said that I’m not a fan at all. I didn’t find it funny or joyous. One of the tropes I’m more than a little tired of is: boys will be boys – and as a result I would’ve gladly thrown all of these guys below under a car.

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I’ll be in my trailer… watching trailers: I call this one Bitey!

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

This week saw the first Six Damn Fine Degrees post by a new contributor: Doctor John Smith (now why does that name ring a bell?) wrote about movie vampires and their ties to the aristocracy and to capitalism. After all, they do like to bleed us dry, don’t they?

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Forever Fellini: Roma (1972)

Is Roma a sort of stealth sequel to Fellini’s previous film, Satyricon? It can certainly be seen as such: like the film Fellini made three years earlier, it is a sprawling tapestry that is focused less on telling a coherent plot than on moving from episode to episode and from setpiece to setpiece. Where Satyricon depicted, and satirised, ancient Rome, the city’s story is taken into the more recent past and even the present in Roma, making the two films a sort of History of Rome, Parts I & II. But where the earlier film was based on the writings of Petronius, Roma‘s angle is decidedly subjective.

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I’ll be in my trailer… watching trailers: If you go down to the prom tonight, you’re sure of a big surprise

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

For this week’s Six Damn Fine Degrees, Julie turned the conversation to the iconic Once Upon a Time in the West by the equally iconic Sergio Leone.

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