Federico Fellini’s AMARCORD previously at Film Forum in New York City

PREVIOUSLY AT FILM FORUM
	“CAPTURES FELLINI AT THE PEAK OF HIS CINEMATIC POWERS! A massively enjoyable entertainment infused with wry wisdom, pathos and mystery. AN EYE-POPPING RESTORATION!” – Andrew O’Hehir, Salon.com Click here to read full review “AMONG FELLINI’S GREATEST! Beautifully and splendidly orchestrated chaos served as autobiography… Slapstick humor and gross-out gags folding into inexplicable poetry." – Lance Goldenberg, The Village Voice Click here to read full review “A fun-house tour through Fellini’s mind... he had mined his youth before but never with such jocularity and emotional force; it’s the memoir as a montage of dirty jokes, historical ironies, sentimental educations and some of the most lyrical imagery the maestro ever concocted. Only Tarkovsky’s The Mirror can match Amarcord for surreal intensity.” – David Fear, Time Out New York “NO FILM STARTS MORE ENTRANCINGLY! Seasons make do for plots; faces, curves, and gestures serve up instant characters; epiphanies descend from nowhere, like the celebrated peacock in the snow.” – Anthony Lane, The New Yorker Click here to read full review "SPLENDID! Fellini can’t help giving the whole thing a whiff of richness and mystery." – Artforum “A MOVING AND COMICAL MASTEPIECE… Fellini's most sentimental and unabashedly romantic film.” – Flavorpill Click here to read full review “REAL MOVIE MAGIC… With ellipses for eerie beauty, whole stretches of the movie consist of horniness and hysterics and taunts and laughter, more or less reflecting the discerning tastes of a pimply schoolboy. Influential on many cinematic remembrances to come!” – Nicolas Rapold, The L Magazine Click here to read full review “VIVID AND EXUBERANTLY SURREAL… One of the Federico Fellini movies that people mean when they say ‘like a Fellini movie’.” – The Onion AV Club


(1973) “I remember” in the Romagnese dialect… Fellini’s ultimate work of reminiscence, drawing on memories of his hometown Rimini, unfolds against the spectacles of Fascism in a completely imagined — and Cinecittà-created — world, across four seasons during the 1930s, with vignettes of town life and its inhabitants: the Fascist parade, with an enormous floral arrangement of Mussolini’s face; the central character “Titta” (based on a childhood friend of Fellini’s), still wearing short pants despite the painful onset of adolescence; the catastrophic family trip to the country with an uncle let out for the day from a mental hospital; bombshell “Gradisca” (Rififi’s Magalí Noël), whose adopted name means “Whatever you desire”; the fat boy who hopelessly longs for an unobtainable young virgin; “Ronald Colman,” the town Lothario; the local tobacconist, sporting the most mountainous breasts in the whole bosom-oriented Fellini oeuvre; the tall-tale-telling peddler, recounting the night he spent in a harem; Titta’s anti-fascist father, forced to “drink” to the party; the sudden appearance of a peacock in the square amidst a freakish snowfall; and the rush to view the magical nighttime passage of the super-liner Rex — all underlined by one of the most haunting of Nino Rota’s Fellini scores. Co-written by frequent Antonioni collaborator Tonino Guerra (L’Avventura, Blowup, etc.) and shot in vibrant color by Giuseppe Rotunno (The Leopard), who supervised this restoration, Amarcord was one of Fellini’s greatest international hits and critical successes, winning the Oscar for Best Foreign Film, the New York Critics’ Best Director and Film awards, and similar honors around the world, including Japan’s Best Foreign Film award. Color; Approx. 127 minutes A JANUS FILMS RELEASE Watch the trailer

“Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley… Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.” – Roger Ebert
	“A film of exhilarating beauty… as full of tales as Scheherazade, some romantic, some slapstick, some elegiacal, some bawdy, some as mysterious as the unexpected sight of a peacock flying through a light snowfall.” – Vincent Canby, The New York Times “Even more beautiful and detailed than 8½… Perhaps the most dreamlike film Fellini has ever made.” – Penelope Gilliatt, The New Yorker