Rome. Before Christ. After Fellini.
A series of disjointed mythical tales set in first century Rome.
A series of disjointed mythical tales set in first century Rome.
Martin Potter Hiram Keller Max Born Salvo Randone Mario Romagnoli Magali Noël Capucine Fanfulla Gordon Mitchell George Eastman Ottaviano Dell'Acqua Carlo Giordana Donyale Luna Elisa Mainardi Marcello Di Falco Tanya Lopert Hylette Adolphe Joseph Wheeler Lucia Bosé Giuseppe Sanvitale Danika La Loggia Alain Cuny Richard Simmons
Satyricon, Satyricon de Fellini
Afterthoughts: Fellini’s orgiastic odyssey through Ancient Rome is a sheer, debauched delight.
Gliding seamlessly from one erotic and extravagant episode to the next, Fellini takes us on a richly symbolic journey of sex and violence that beams with colourful sights and sounds, critiquing the consumerist hedonism of capitalist modernity, whilst offering an eccentric look at one of history's most interesting civilisations.
Similarly to the films of Alejandro Jodorowsky, it is a great joy to see Fellini granted all the necessary resources to realise his audacious and ambitious surrealist masterpiece on the large scale it clearly required.
The average ratings for this film are criminally low! Worthy of higher and wider praise for certain.
Written and directed by Federico Fellini, Satyricon is a fantasy drama broadly based on Petronius's Latin work of the same name and encompasses a spirit of the late sixties when the chaos of the era was forcefully impacting the balanced of both the artistic and political; where satisfaction was momentary, and magnificence was continually vanishing. The movie has no discernible plot and consists of a series of episodes; every scene petitioning images of either monstrousness or salaciousness, or frequently an uneasy combination of both. The source material only exists in fragments and Fellini deliberately gives rise to the impression that this is an incomplete movie, one that commences at a midpoint and stalls mid-communication.
Criterion Collection Spine #747
(Foreign language film)
Director Federico Fellini delivers a bizarre experience of a film, that takes a stream of consciousness like approach toward depicting the debauchery of Roman society, under the rule of Emperor Nero.
The movie was inspired and loosely adapted from the book Satyricon written by Petronius. The film is broken into three loose narrative chapters, mostly dealing with these two very metro friends named Encolpio and Ascilto.
In this work, Fellini apparently set out to show a version of pagan Roman culture that would be so different from modern society that it would come off as other worldly. The main element that kept me invested in the film was the outstanding production design and…
If an experiment was conducted consisting in submitting a modest cinema connoisseur to this beautiful and decadently disastrous orgy of anarchic cultural aspects of Rome, perhaps the first name that would pop up to his head was Pasolini. Surprisingly, it isn't. More surprisingly, this rebellious piece of art entered the business before Pasolini's Trilogy of Life. Truth is, Satyricon is the turning point for the legend that Fellini already was before autobiographical memoirs and nostalgia invaded his mind with controversial youth moments added here and there for spicing up his love letters to the city that gave him life and an identity forever.
should be remade as a porno
Honestly this film is incredibly hard to score, if it was purely based on enjoyment it’d be a low 6 to a high 5, but there’s too much positive stuff I can’t ignore. The visuals and the atmosphere are quite literally otherworldly, combining nightmarish imagery of pagan ritualistic anarchy and a grand hellscape of depravity, incoherence, and absurdity. The costumes and set design were immensely engrossing and helped me to forget how uninterested and lost I was in the plot. I also think this is Fellini’s best shot film, clearly he took a lot of influence from unsettling biblical paintings. Honestly this is just another case of a film I appreciate but didn’t quite enjoy as much as I had hoped.…
Satyricon is about alien worlds. You’re a visitor here - you’re not entirely welcome and no one is impressed. You’re interrupting some Pagan ultraviolence. You’re confusing them and they don’t particularly appreciate that. They don’t particularly appreciate you at all. You’ve stumbled upon some psycho ritual and it’s YOU they’re offering to their ferocious Gods.
It’s a film with no psychology. It’s staring at you. It’s unfriendly. It’s dementedly curious. There are no value judgements here. You have reached some ancient pylon. Satyricon as some nexus - a Godhead. Fellini’s time has no rubric and no rules. Past, present, future - all folds and dimensions bend and collapse, and abuse each other. Concepts like those matter not at all. You…
Very much Fellini's KWAIDAN, an induced, deliberately artificial fugue state designed to bring the desires and traumas of the past back to us. They're still ours.
I do understand and appreciate Fellini’s vision for his Satyricon. Considering I was watching a crappy quality version on YouTube, I felt really out of sync with the entire film, and when it’s asking you to suspend your disbelief, the overall experience is far too strange. I didn’t care for any of the plot lines; the distancing techniques definitely achieved their desired effect, but it’s hard to engage with something so indisputably impenetrable in not only its structure, yet also its presentation. When coupled with the already bad connection I had to the film, the language barriers and deliberate out of sync dubbing were far too difficult an inconvenience to oversee. I think if you’re willing to accept the whole…
That was the longest 2 hours of my life...
The look of this film is fantastic! From the production design, to the costumes, to the make-up; this film's outta world color boldness is admirable, but it doesn't save this film.
This is Fellini's way of being edgy and controversially relevant. There was no purpose of this film.There was nothing to take from this film, other than to say that it's maddeningly sinful.
Other that it's stunning presentation, it was a series of confusing and often surprisingly boring events with small moments of violence and sex.
Sorry, but once again, Fellini, you've failed to impress me. I hope to God that La Dolce Vita and Amarcord are better...
Like someone gave Jesus Franco all the money in the world to film the last bachanal. Maddening self-indulgent. Stronger in the outside scenes. The widescreen spectacle carries a punch even if like La Dolce Vita the film self-loathing can be far too much. Fellini's feel for choreography remains his strongest asset. There's something pleasing in Satyricon dedication to its own thatricality as well as all those empty landscape shots. An ugly horror film.
Definitely one of Fellini's true visionary masterpieces, without question his most abstract, lavish and ambitious. Watching this in the context of chronologically viewing Fellini's filmography these last few months, it's scale and ambition clearly surpass anything that he had attempted beforehand.
The unique disjointed approach to adapting The Satyricon by Gaius Petronius written in the reign of Emperor Nero (which only exists in fragments that have survived the centuries) creates a really bizarre tension and atmosphere which, coupled with the absolutely stunning design in every department (the set design is next level) and hypnotically weird score by the always amazing Nino Rota, hypnotises the viewer into a truly alien landscape.
I watched the making of doco Ciao, Federico! which provides…
《사튀르콘》은 쑤레알레한 연출 기교를 탐닉하는 것에 그치지 않고 환상극이나 알레고리극적인 면에 집착하지도 않을 때 더 많은 것들이 보이는 작품이라고 할 수 있다. 이 작품은 엄청난 서사극의 양식을 띠고 있지만 내용적으로 결국 엔콜피우스와 아쉴토스의 소년애 이야기다. 그렇기 때문에 서사의 진행에 따라 지톤을 사이에 둔 에피소드의 존재감은 점차 사라지고, 엔콜피우스와 아쉴토스는 사실상 둘이 남는다. 그래서 마침내 기운을 되찾고 뛸 듯이 좋아하는 엔콜피우스를 쫓아가지 못하고 아쉴토스가 풀썩 쓰러져 죽는 장면은 고대인의 죽음을 근대적, 좀 더 구체적으론 영화적 비극의 양식으로 연출한 것으로, 이 작품의 정점이다. 이와 같은 날 놀랍게도 에우몰푸스까지 죽는 것은 과하다는 생각이 들 정도인데, 원작을 조사해본 결과 에우몰포스의 죽음으로 책이 끝나는 것은 맞고, 내가 약간의 이물감을 느꼈던 아쉴토스의 죽음은 역시 펠리니 감독의 창작인 것으로 확인됐다. 역시 가끔은 실로 위대한 것들도 맨눈으로도 보이는…
Felt more like Jodorowski than Felini
Essential viewing. The 60s palimpsest/companion piece to 2010s Aleksei German’s “Hard to be a God” ( Hard to be a God arguably synthesizes this and Zulawski’s unfinished masterpiece On the Silver Globe) Era to era. The texts that will be unearthed centuries from now if there are still centuries.
Non capisco più niente...
Şüphesiz izlediğim en iyi filmlerden biri. Ayrıca neden sinemayı sevdiğimi de hatırlattı sanırım.
one moment you're stealing hermaphrodites with the boys the next your having a threesome with the dude that stole your boy lover
if that's not an epic i dont want to know what is
It is not an understatement to call this Federico Fellini movie odd and bizarre, however the movie is interesting due to the fact that it is a film adaptation of a classical piece of literature from the golden age of the Roman Empire.
Most scholars agree upon the fact that the original fragmented text that remains from Satyricon is written by the author Petronius. Petronius (27 e.Kr. - 66 e.Kr.) were an author who lived during the same time period as emperor Nero and Seneca and Satyricon is a cynic and parodic menippean satire which consists of satirical tales from the roman empire. The story describes everyday life in Rome in a melodramatic way that includes ridiculous absurd situations with…
“ Better to hang a ‘dead’ husband than to lose a ‘living’ lover...”
So many absolutely insane faces.
All the obsessive control, uncomfortable intimacy, and alien debauchery of FKA twig’s Two Weeks video except more than 2 hours in length.
I think there should be more films about ancient Rome. There are so many stories to tell about this early civilization that have not been told and the city of Rome can make for amazing setpieces.
Some of these wishes are answered in Satyricon, which feels more like a play than a film. Many of the sets are quite bland, but somehow fit very good with the scenes playing in front of them. Costumes and make up are on point, so I thought this was definetely some om Fellini's better 'later' work.
The fourteenth installment of my Fellini Marathon
Der Film ist mindestens so gut, wie er bizarr ist.
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