Podcast appearances and mentions of Federico Fellini

Matt and Jordan punch their tickets to an alternate reality to review Ladies First, the new Netflix comedy starring Sacha Baron Cohen and Rosamund Pike. They break down the film's (mostly good!) relentless barrage of gags, its terrifyingly plausible marketing pitches, and whether it successfully navigates the edgy tightrope of workplace comedy. But before they talk Ladies First, they have to talk about leaving the couch. Matt recounts his mind-bending, leaf-in-the-face trip to the Las Vegas Sphere watching The Wizard of Oz, while Jordan counters with an equally dramatic story about his allergy-inflicted screening ofThe Mandalorian and Grogu at his local AMC. For Rec Seg!, the multiversal madness continues as the duo pairs Ladies First with Jet Li martial arts mayhem and surrealist cinema from Fellini. Plus, a listener writes in looking for a sleek, under-the-radar romantic thriller, prompting two very different caper recommendations. Finally, Producer Sam takes over the board as "Dungeon Master" to premier a brand-new, slow-teasing visual trivia game called Strip Poster. (Ep. #173) (Timecodes/chapters may not be precise with ads.) Intro, Wizard of Oz at Sphere, The Mandalorian & Grogu (00:00:00–00:15:05) Ladies First (00:15:06–00:35:26) Rec Seg! (00:35:27–00:50:23) Personalized Recs (00:50:24–01:02:16) Game (01:02:17–01:16:36) New to Streaming / Credits (01:16:37–01:29:00) Notes: Matt on “The Wizard of Oz” at Sphere https://screencrush.com/wizard-of-oz-sphere-review/ Now Streaming on Bazooga - A Filmspotting: SVU Archive ⁠⁠https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠⁠ Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" comes to bookstores everywhere on October 6th. Pre-Order now! ⁠⁠https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠⁠ The Flop House Podcast: “The One” https://www.flophousepodcast.com/2025/11/episode-467-the-one-with-michael-shanks/ Feedback: -Email us at feedback@filmspottingSVU.com⁠⁠ Follow: ⁠⁠https://www.instagram.com/superpulse/⁠⁠ ⁠⁠https://www.facebook.com/FilmspottingSvu⁠⁠ ⁠⁠https://letterboxd.com/superpulse/⁠⁠ ⁠⁠https://letterboxd.com/jhoffman6/⁠⁠ ⁠⁠https://bsky.app/profile/mattsinger.bsky.socialSee omnystudio.com/listener for privacy information.

In the ninth episode of Season 12: On the Road, Kyle is joined for a one-on-one conversation with fellow podcaster Spro Frosty to discuss the neo-realist and fantasy blended time capsule of post-War Italy in Federico Fellini's masterful dissection of damaged masculinity and the enduring human spirit in La Strada (1954).

“A project of epic proportions, pulled off with remarkable élan.”—Kirkus ReviewsA gripping exposé of deception, cult power, and the long shadow of Carlos Castaneda, the man behind the biggest literary hoax of the twentieth century.Twenty years in the making, American Trickster: The Hidden Lives of Carlos Castaneda unravels the story of the secretive faux-anthropologist who pulled off one of the greatest literary hoaxes in modern history. Both an investigation of the techniques employed by charismatic narcissists and a study of the cult dynamics that still shape American life, American Trickster defies conventional biography. It emerges as a chilling allegory for the Trump era, a trenchant critique of academia's complicity in distorting and erasing Indigenous culture, and a deep dive into the mechanics of New Age spiritual abuse.Carlos Castaneda, born in Peru in 1925, fled to the U.S. in 1951, escaping responsibility for a child he fathered with a thirteen-year-old girl. He changed his name repeatedly, worked as a taxi driver, studied creative writing, and eventually enrolled in anthropology at UCLA in 1959. In 1968, the University of California Press published his first book, The Teachings of Don Juan, which described his supposed encounters with a Yaqui shaman who initiated him into a secret world of peyote-fueled visions and ancient knowledge never before shared with a “Westerner.”Castaneda was quickly hailed as a revolutionary figure. Admirers ranged from John Lennon and Joni Mitchell to Federico Fellini, George Lucas, and Octavio Paz. His books became international bestsellers and remain the most popular titles ever published on Native American spirituality—despite having little to no connection to actual Indigenous practices.For a time, his truth went unchallenged. Then, in 1973, Time magazine published a searing exposé revealing that Castaneda wasn't who he claimed to be. As his academic credibility unraveled, he turned inward, building a secretive spiritual group that blurred the line between fiction and reality. Castaneda's followers, mostly women, became living extensions of the characters in his books—devoted disciples who often abandoned their former lives entirely.By the 1990s, as book sales declined, the group emerged publicly, offering workshops and seminars to thousands across the globe. When Castaneda was diagnosed with liver cancer, he told his disciples he would not die, but burn from within and ascend to another realm—and invited them to join him. After his death in 1998, five of his closest female followers vanished. They are widely believed to have taken their own lives.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Insieme a Massimiliano Bolcioni si torna a parlare di Federico Fellini e del suo "Roma" un film-documentario visionario e autobiografico in cui Fellini stesso esplora la città eterna in modo frammentato e onirico, senza una trama lineare.Un film che alterna episodi ambientati negli anni '30-'40 (con un giovane provinciale che arriva a Roma per la prima volta) a sequenze girate nel presente degli anni '70, mostrando i lavori della metropolitana, il traffico caotico del Grande Raccordo Anulare, i varietà popolari, i bordelli di periferia e una memorabile sfilata di moda ecclesiastica.

Alexandre, Fred e o crítico Rafael Amaral (Blog “Palavras de Cinema”) começam neste episódio a primeira parte da homenagem do PFC ao centenário de Federico Fellini, diretor dos mais influentes do cinema mundial, daqueles que virou adjetivo. Esta primeira parte de dois episódios chega para você neste dia 20 de janeiro, data em que Fellini completaria 100 anos se estivesse vivo, e neste áudio conversamos sobre a obra e vida do diretor, desde seu primeiro filme, passando com destaque por “A Estrada da Vida” (La Strada, 1954), “Noites de Cabíria” (Le notti di Cabiria, 1957) e fechando com um dos longas que mais representa o próprio diretor, “A Doce Vida” (La Dolce Vita, 1960). Não trataremos nestes áudios de “Oito e Meio”, pois este clássico já teve episódio dedicado, basta acessar aqui.----------------------ATENÇÃO: TIVEMOS QUE REPUBLICAR ESTE EPISÓDIO EM FUNÇÃO DO SPOTIFY CONTESTAR O USO DE MÚSICAS ESPECÍFICAS. ESTE EPISÓDIO FOI LANÇADO ORIGINALMENTE EM 20 DE JANEIRO DE 2020.-------------------------------LINKS PARA ADQUIRIR O LIVRO DO PFC ("Uma Jornada pelo Cinema - Anos 1950"):UICLAP - ⁠⁠⁠⁠https://loja.uiclap.com/titulo/ua98290/⁠⁠⁠⁠AMAZON (capa dura e e book) - ⁠⁠⁠⁠https://www.amazon.com.br/dp/6501481376⁠⁠⁠⁠-------------------------------Acesse nosso site: ⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠Instagram: @podcastfcProcure "Podcast Filmes Clássicos" no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky. If you would like to be a patron of the podcast you can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm Apologies in advance for my butchering of Italian pronunciation during this episode. Although we mentioned in the Planet of the Vampires episode the copycat nature of Italian cinema in the 1960s, The 10th Victim by Elio Petri does not fit that mould. The film has a definite style that may offer commentary on Italian film, comics and culture but looks to set a new mould for films coming out of Italy. Cultural change in Europe and America in the 1960s came in many different flavours and with different driving forces. My excellent guests help to unravel the cultural context of this stylish cult classic. Stephen Gundle is a Professor of Film and Television at the University of Warwick. He has a special interest in Italian cultural history. Leon Hunt is a retired Senior Lecturer of Screen Studies at Brunel University with a special interest in Italian Genre Cinema. Chapters 00:00 Introduction. 01:17 Collectively written script 04:02 Italy in the 1960s 05:19 Marcello Mastroianni Commedia all'Italiana and global fame 09:33 Echoes of La Dolce Vita 15:02 Style over substance? 17:03 Gender roles 20:38 The violence of man 23:28 The gun bra, design and pop art 26:17 Comic book culture in Italy 32:46 Religion and belief systems 36:55 Changing Italian culture: American influence, economic growth and celebrity worship 45:52 Legacy 51:07 Recommendations for the listener   Recommendations: Danger Diabolik (1968) directed by  Mario Bava Modesty Blaise (1966) directed by Jospeh Losey La Dolce Vita (1960) directed by Federico Fellini   NEXT EPISODE! You have two weeks to find and watch Seconds (1966) by John Frankenheimer as we finally head into 1966! The film is available to rent or buy on Apple TV in the UK, and for free on Kanopy in the US. You can check the JustWatch website for details of where it's available in your region. (Waves frantically at new global listeners!)  

Todas las películas de Fellini representan un viaje real o imaginario, en La Dolce Vita Marcelo circula por las carreteras de Roma, vuela en helicóptero hacia el Vaticano, asiste como observador y parte de fiestas larguísimas, se sienta en los veladores de la Vía Veneto, y persigue a una belleza nórdica, diosa walkyria mojada por las aguas de la Fontana Di Trevi. Anita Ekberg aseguraba que ella hizo famoso a Fellini con esa escena, se pasó un poco refiriéndose al artífice de otras piedras preciosas del calibre de Amarcord, Ocho y Medio, Roma, La Strada, Los inútiles… Radiografía de las noches de burgueses insatisfechos, prostitutas, famoseo y un periodista del cotilleo que más que trabajar se deja llevar. Paparazzo, uno de los reporteros, salta junto a otros alrededor de una mujer que va a enterarse que sus dos hijos han muerto. Cruel y caricaturesca visión, en la escena siguiente Marcelo subirá las escaleras en dirección a la casa de su admirado amigo intelectual, que se ha quitado la vida y antes ha matado a sus dos hijos pequeños. El ritmo interno de las reuniones y resacas nos atosiga, y hasta cansa ver a esas gentes desvariar sobre lo banal y lo eterno, y ahí en medio un hombre descolocado que no sabe a donde va, tan en crisis como el Guido de Ocho y Medio. Marcelo perderá aún la calma ficticia cuando compruebe que su amigo intelectual ha cometido una barbaridad absurda, totalmente impropia del referente al que admiraba. La celebración de la vida y la amargura, lo grotesco y lo ridículo se dan la mano en La dolce vita, y la pureza encarnada en la cría de provincias, en la que Marcelo repara en una de sus resacas a la luz del sol, poco después observará el ojo vidrioso del leviatán arrastrado a la playa. Esta noche paseamos en descapotable por las calles de Roma… Chari Medina, Salvador Limón, Zacarías Cotán y Raúl Gallego

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. In Castrato Phantoms: Moreschi, Fellini, and the Sacred Vernacular in Rome (Zone Books, 2026), musicologist Professor Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi's story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city's unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome's persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Professor Feldman's gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

di Matteo B. Bianchi | In questo episodio, incontriamo Veronica Tati, alias @nicabooks, libraia italiana che lavora a Dublino in una delle librerie più antiche della città. Andiamo anche a conoscere Mattia Visani e la sua Cuepress, una casa editrice che pubblica testi di teatro, cinema e arti visive, che difficilmente troverebbero spazio altrove. Per concludere, lo scrittore Christian Raimo ci dà un suo consiglio di lettura molto sentito.  Libri consigliati in questo episodio: NIENTE DI SPECIALE di Nicole Flattery, La nave di Teseo L'IDIOTA DI FAMIGLIA di Dario Ferrari, Sellerio LE PARTI ROSSE. AUTOBIOGRAFIA DI UN PROCESSO di Maggie Nelson, nottetempo BELLISSIMO di Massimo Cuomo, Edizioni e/o TEMPI ECCITANTI di Naoise Dolan, Atlantide QUADERNI DI REGIA E TESTI RIVEDUTI di Samuel Beckett, Cuepress FARE UN FILM di Federico Fellini, Einaudi IL VINCOLO DELLA VERGOGNA di Carlo Ginsburg, Adelphi Learn more about your ad choices. Visit megaphone.fm/adchoices

“I'm utterly confused.” 8 1/2 (1963) directed by Federico Fellini and starring Marcello Mastroianni, Claudia Cardinale, Anouk Aimée and Sandra Milo Next Time: The Wolf of Wall Street (2013)  

Filmische muziek met een snuifje Italië, dit harpconcerto van Nino Rota doet dromen van de zomer! En dat je aan een film moet denken wanneer je deze muziek hoort is geen toeval, want Nino Rota was jarenlang de vaste componist van Federico Fellini, een legende uit de Italiaanse filmwereld. Voor liefhebbers van Aperol Spritz, The Godfather of de betere zonsondergang boven de Adriatische kust.

Alors qu'il est presque permis de croire au retour du printemps, nous vous proposons un épisode avec Louise Hémon qui, avec L'Engloutie, signe le plus beau film de neige de ces derniers temps. Celle qui a filmé la neige blanche dans la nuit noire en haute altitude nous propose une cinéphilie glissante, avec des choses si fausses qu'elles en sont vraies (Et vogue le navire), des regards obliques (La Cienaga) voire carrément ambigus (Cruising). Puis elle nous ramène à la maison, sa maison préférée, La Maison des bois. Durant cet entretien, d'autres films éternels - du genre qui ne fondent pas -sont évoqués mais pour ça il faut écouter ! Inscrivez-vous à la newsletter en cliquant sur ce lienRejoignez-nous sur Substack : https://cinephilesdenotretemps.substack.com/ Bonne écoute ! I.PORTRAIT - 6'59 un décor / un paysage au cinéma ? - Et vogue le navire (Federico Fellini 1983) - 6'59 une communauté au cinéma ? - La Cienaga (Lucrecia Martel 2001) - 10'24 un corps au cinéma ? - Le sein dans Maternité éternelle (Kinuyo Tanaka 1955) - 16'01 II. LE CINÉMA DANS TOUS SES ÉTATS - 18'14 Un film à voir dans la pénombre ? - Toute une nuit (Chantal Akerman 1982) - 18'14 Un son sensuel au cinéma : Le vent de Dersou Ouzala (Akira Kurosawa, 1975) Une danse : la scène de bal sinistre dans La Chevauchée des bannis (Andre de Toth, 1959) - 28'25 L'ambigûité d'un regard au cinéma : Cruising (William Friedkin, 1980) - 32'08 CARTE BLANCHE - 38'40Fading (Olivier Zabat, 2010) III. CINÉMA & TRANSMISSION - 43'08 Un film à transmettre aux générations futures : Madame a des envies (Alice Guy, 1907) - 43'08 Un film à raconter : La mort de Danton (Alice Diop, 2011) REFUGELa Maison des bois (Maurice Pialat, 1971) CREDITSLes extraits diffusés dans cet épisode le sont à titre illustratif, dans un cadre non commercial. Tous droits réservés à leurs ayants droit.Et vogue le navire — Federico Fellini (1983) © RAI / GaumontToute une nuit — Chantal Akerman (1982) © Fondation Chantal AkermanDersou Ouzala — Akira Kurosawa (1975) © Mosfilm / TohoFading — Olivier Zabat (2011) © Les Films du BilboquetSpy Boy — John Hiatt (1988) © Universal Music GroupTrois beaux oiseaux du Paradis — Ravel, The Cambridge Singers, dir. John Rutter © Collegium Records Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation, Réalisation : Phane Montet & Clément Coucoureux

We continue  Foreign Film February, or “FFF” with the King of T&A himself, Federico Fellini! Based on his childhood in Remini, Italy, AMARCORD is a weird blend of memories, characters, and farts! Is it a classy teen film? A condemnation of fascism? A variety of shots of boobs and butts? It's all three and so much more!Joining us is comedian and writer Ali Davis, who has really had to suffer through some of the, should we say, quirkier selections from New World's past, but we thought we would have her join us for some arthouse cinema. Does it pay off? You'll have to listen to find out!We discuss this wild film filled (and filled and filled) with characters and discuss Italian food, growing up in a small town, and the worst way a seaside village could torture it's local blind man. Enjoy as we discuss this slice of classic film, an Academy Award winner that Roger Corman was always proud to have distributed!    For all the shows in Someone's Favorite Productions Podcast Network, head here: https://www.someonesfavoriteproductions.com/.

Que faire quand on a déjà croisé la route de Federico Fellini, qu'on écrit plein de livres et qu'on a co-fondé les Snuls ? Réponse : monter un label de jazz avec son fils ! Aujourd'hui dans Off The Record, petite méthode de musique indépendante avec Stefan Liberski, cofondateur de Dalang Records.Interview et édition : Thomas Ducres Enregistrement, son et montage : Benjamin Schoos Voix générique : Lucie RezsöhazyProduit par Freaksville Publishing SRLDistribué par Freaksville Podcasts www.flif.be

This week we dive into night life and moral decay with two very different cities: Rome and Los Angeles. The lauded Federico Fellini film La Dolce Vita and the Michael Mann oozing-cool Collateral. Timings for this week are: La Dolce Vita: (02:33) Collateral: (35:32) Next week we will be exploring Inter-dimensional Love. Follow us on social media: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: frame.to.frame250@gmail.com Join our Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Frame to Framers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and that of the wider ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Stories Podcast Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support Film Stories Podcast Network on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/simonbrew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: @filmstories Facebook/Instagram/Threads: Film Stories Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://filmstories.co.uk/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Gothamlicious by Kevin MacLeod ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠License⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Leave us a review on Podchaser or Apple Podcasts! Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam McKay, director of Step Brothers, Anchorman, The Big Short, Vice, Don't Look Up, RETURNS for a special friday episode!!! Forrest, Conan Neutron, Kristina Oakes and Adam McKay talk about Federico Fellini's Nights of Cabiria!!!Starring Fellini's wife and muse, Giulietta Masina, as Cabiria a role she had played in the 1952 Fellini film "The White Sheik" as well. Nights of Cabiria is Fellini's last neorealist style film, right before the surrealist avant-garde period that would create films like La Dolce Vita and 8 1/2. Some of that has to do with where Italy was, just three years after Nights of Cabiria was released, Italy would be in the Economic Miracle that created the conditions for a film like La Dolce Vita. But, we see the beginnings of that change, with Nights of Cabiria highlighting the deep inequality permeating Italian Society at this time. It was difficult to get a film made where sex workers were the protagonists, only Luigi and Dino De Laurentiis would end up financing it, and yet at the Oscars it would receive Best International Film. #fellini #nightsofcabiria #filmpodcast #moviepodcast #dinodelaurentiis #bestinternationalfilm #oscars #1957 #giullianamassina #sexworkers #anora #ladolcevita #rome #romehistory #adammckay #stepbrothers #dontlookup #thebigshort #vice #vertical #livestream #livestreaming

Mauro Francesco Minervino"Le strade, la vita"Storie, luoghi, antropologieScholéwww.morcelliana.netLa strada, spazio fondativo dell'esperienza umana e luogo materiale e simbolico, è analizzata in queste pagine come un grande dispositivo di relazione e di spaesamento, intrecciando diverse prospettive. Innanzitutto la storia: dalle vie dell'antichità alle autostrade della modernità, dai cammini dei pellegrini alle rotte digitali. Poi, il confronto con autori come Jack Kerouac, Jorge Luis Borges, Elsa Morante, Pier Vittorio Tondelli, James G. Ballard, Albert Camus, Italo Calvino e con capolavori del cinema come La strada di Federico Fellini e Il sorpasso di Dino Risi permette di comprendere le trasformazioni e le tensioni legate alla mobilità nella contemporaneità.Infine, seguendo la traccia del pensiero di Marc Augé e degli studi dedicati alla strada in ambito etnografico e antropologico, questo libro – anche grazie alla originale impostazione che abbina il rigore scientifico del saggio all'attenzione al racconto e al dettaglio narrativo – propone una rilettura critica e inedita della strada nell'epoca della postmodernità e delle sue complesse implicazioni culturali, esistenziali e sociali.«Con sempre maggiore invadenza materiale e discorsiva, con altrettanta crescente ridondanza tecnologica e digitale, la presenza della strada si impone oggi inarrestabilmente nelle nostre esistenze individuali e collettive. E ciò accade ben oltre le pretese di dominio, separazione e controllo imposte artificialmente da muri e confini, reali o immaginari».Mauro Francesco Minervino è professore di Antropologia Culturale, Etnologia, Sociologia dei Nuovi Media presso le Accademie di Belle Arti di Catanzaro e Bari. Tra le sue pubblicazioni: In fondo a Sud (Philobiblon, 2005, con prefazione di Marc Augé); Statale 18 (Fandango, 2010); Stradario di uno spaesato (Melville, 2016). Ha tradotto e curato il volume di George Gissing, Verso il Mar Ionio. Il Sud di un vittoriano (Exòrma, 2023). Nel 2014 gli è stato conferito il Premio Internazionale di Filosofia Karl-Otto Apel. È autore di programmi RAI e collaboratore ed editorialista del «Corriere della Sera».Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

EPISODE 121 -  “RICHARD BASEHART: CLASSIC STAR OF THE MONTH” - 1/05/2026  RICHARD BASEHART wasn't the flashiest of actors, but he certainly was one of the most versatile. He always brought such haunting depth and emotional intensity to his roles, often portraying characters teetering on the edge of psychological turmoil. With his piercing blue eyes and floppy blonde hair, his sensitive, brooding presence gave him the appearance of an erudite or a poet. And that voice! He had a fantastic baritone voice that could convey both vulnerability and menace. He really excelled at playing sensitive, troubled men—sometimes deeply introspective, other times psychotic or dangerously unhinged. From his chilling portrayal of the deranged killer in “He Walked by Night” (1948) to the tormented clown in FEDERICO FELLINI's “La Strada” (1954), Basehart always infused each performance with a profound humanity, sensitivity, and quiet strength, making him one of the most compelling and underrated actors of his generation. This week we honor him as our January Star of the Month. SHOW NOTES:  Sources: ActorsandOthers.com ClassicMovieHub.com WalkofFame.com Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Repeat Performance (1947), starring Joan Leslie, Louis Hayward, Richard Basehart, Tom Conway, and Virginia Field; Cry Wolf (1947), starring Errol Flynn, Barbara Stanwyck, Richard Basehart & Geraldine Brooks; He Walked By Night (1948), starring Scott Brady & Richard Basehart; Rosanna McCoy (1949), starring Farley Granger & Joan Evans; Tension (1949), starring Richard Basehart, Audrey Totter, Barry Sullivan, & Cyd Charisse; Fourteen Hours (1951), starring Richard Basehart, Paul Douglas, Barbara Bel Geddes, Agnes Moorhead, Jeffrey Hunter, Debra Paget, & Grace Kelly; The House on Telegraph Hill (1951), starring Richard Basehart & Valentina Cortese; Decision Before Dawn (1951), starring Oskar Werner & Richard Basehart; Titanic (1953), starring Barbara Stanwyck & Clifton Webb; La Strada (1954), starring Anthony Quinn & Richard Basehart; Il Bidone (1955), starring Richard Basehart & Broderick Crawford; Moby Dick (1956), starring Gregory Peck, Richard Basehart & Orson Welles; The Brothers Karamazov (1958), starring Yul Brynner & Richard Basehart; Portrait in Black (1960), starring Lana Turner & Anthoy Quinn; The Savage Guns (1961), starring Richard Basehart & Alex Nicol; Hitler (1962); The City Beneath The Sea (1971), starring Stuart Whitman & Rosemary Forsyth; The Island of Dr. Moreau (1977), starring Burt Lancaster & Michael York; Being There (1979), starring Peter Sellers & Shirley MacLaine; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dirigida por Derek Cianfrance (Blue Valentine, Cruce de caminos), Roofman: un ladrón en el tejado se inspira en hechos reales para reconstruir la insólita historia de Jeffrey Manchester, un delincuente meticuloso y casi invisible que logró robar decenas de restaurantes accediendo por los tejados y ocultándose en falsos techos. Protagonizada por Channing Tatum, junto a Kirsten Dunst y Ben Mendelsohn, la película transita con soltura entre el thriller y la comedia negra, evitando la idealización del criminal para centrarse en su ingenio, su soledad y la fascinación mediática que despierta su figura. Cianfrance imprime un tono ligero y melancólico a la vez, convirtiendo el relato de robos en un retrato de la América invisible, donde el talento y la obsesión se confunden con la necesidad de desaparecer. Min 15: FRONTERA (2,5 estrellas) Frontera, dirigida por Judith Colell (Elisa K, Nosotras), es un poderoso thriller histórico que recupera un episodio apenas contado de la Segunda Guerra Mundial desde la perspectiva española: en 1943, cuando miles de judíos huían de la represión nazi por los Pirineos, un funcionario de aduanas con pasado republicano interpretado por Miki Esparbé, junto a María Rodríguez Soto y Asier Etxeandía, se enfrenta a la orden de bloquear su paso y decide, contra todo pronóstico y bajo constante riesgo, ayudarles a cruzar la frontera hacia una esperanza de libertad, desafiando al régimen franquista y poniendo en juego la seguridad de su familia y su pueblo. Min 22: REY DE REYES (2,5 estrellas) Dirigida por el cineasta surcoreano Jang Seong-ho, Rey de Reyes es una ambiciosa película de animación coproducida entre Corea del Sur y Estados Unidos que reinterpreta la vida de Jesucristo a partir de La vida de Nuestro Señor, el cuento que Charles Dickens escribió para su hijo, combinando respeto por el texto original con una puesta en escena épica y accesible al público familiar. Con las voces protagonistas de Oscar Isaac como Jesús, junto a Kenneth Branagh, Uma Thurman y Mark Hamill, la película articula un relato clásico apoyado en un cuidado apartado visual que mezcla sensibilidad oriental y espectacularidad occidental, poniendo el acento en valores universales como la compasión, el sacrificio y la redención. Min 27: BALEARIC (2 estrellas) Dirigida por Ion de Sosa (Sueñan los androides, Mamántula), Balearic es una arriesgada fábula cinematográfica que mezcla drama, suspense y crítica social dentro de una narración que transcurre en la víspera de San Juan, cuando un grupo de adolescentes —interpretados por Lara Gallo, Elías Hwidar, Ada Tormo y Paula Gala— decide colarse en la piscina de una lujosa villa y acaba atrapado por tres feroces perros que desatan un espiral de tensión. Min 29: LA VIDA FUERA (2,5 estrellas) Dirigida por Mario Martone (Leopardi, Il giovane favoloso), La vida fuera (Fuori) es un drama biográfico que reconstruye con delicadeza y pasión la vida de la escritora Goliarda Sapienza, interpretada por Valeria Golino, acompañada por Matilda De Angelis, Elodie y Corrado Fortuna, en un relato que transcurre en la Roma de 1980 y se centra en la detención de Sapienza tras un acto impulsivo, su paso por prisión y el profundo vínculo que forja con jóvenes reclusas que cambiarán su visión sobre la vida y la escritura, empujándola a recuperar la alegría de vivir y el impulso creativo que la definió como una de las voces literarias más originales de Italia. Min 32: FRAGMENTOS (2,5 estrellas) Fragmentos es un drama psicológico rodado íntegramente en Lanzarote que explora las grietas emocionales de una familia contemporánea a través de la mirada introspectiva de Emma Suárez, en el papel de una madre cuya vida aparentemente estable se resquebraja tras un accidente que la obliga a enfrentarse a sus recuerdos, duelos no resueltos y relaciones tensas con su entorno. Min 34: REESTRENO DE LOS GOONIES. 40 aniversario Con motivo de su 40º aniversario, Los Goonies —la entrañable aventura juvenil dirigida por Richard Donner y producida por Steven Spielberg, protagonizada por Sean Astin, Josh Brolin, Martha Plimpton y un inolvidable reparto de jóvenes intérpretes— regresa a las salas en un reestreno que celebra la vigencia de una película que se ha convertido en objeto de culto generacional. MIn 40: LA PELI DE TU VIDA, CON PEDRO CENJOR Y hoy en la peli de tu vida, cedemos el altavoz de Estamos de Cine a otro directo de la tierra. Este experimentado, toledano, miembro de la Asociación de productores Audiovisuales de CLM, con los que estuvimos hace una semana en Madrid para apoyar las posibles candidatos de nuestra comunidad de cara a los próximos Goya. Es Pedro Cenjor, que ha debutado en el largo este mismo año con La Boda...con Elena Furiase, Daniel Chamorro o Antonio Dechent. En plena Gran Vía, en la oficina de Promoción Turística de CLM, nos desvelaba por qué "Los Inúticos", de Federico Fellini, del año 1953, es el título que marcó su amor por el cine. Min 41: BSO ESPECIAL CENTENARIO DE JACK LEMMON La sección BSO de esta semana se convierte en un viaje muy especial para celebrar el centenario de Jack Lemmon, uno de los actores imprescindibles de la historia del cine. A través de un recorrido musical por su filmografía, repasamos algunas de las bandas sonoras más emblemáticas asociadas a sus películas, deteniéndonos en títulos tan representativos como Mr. Roberts, Días de vino y rosas, Irma la dulce, La extraña pareja o El apartamento. Un homenaje sonoro que permite redescubrir no solo la versatilidad interpretativa de Lemmon, sino también cómo la música acompañó y definió el tono de una carrera que supo moverse con brillantez entre la comedia, el drama y la sátira, y que sigue resonando con fuerza cien años después.

What is it about the Italians? The rich food. Thousands of years of incredible art and sculpture and music. Something's in the blood over there that produces a high concentration of moviemakers with incredible lush styles: Sergio Leone, Federico Fellini, Lucio Fulci, Mario Bava, and Dario Argento to name just a few. This week, Secret Movie Club founder.programmer Craig Hammill riffs on what it means to be a "stylist". And why Italian masters like Roberto Rossellini and Vittorio De Sica don't quite feel like part of that category because other traits of their moviemaking dominate.  Craig also tries explores why, even if your aesthetic is different, studying stylists is key to the craft. 

Olivia Laing is an internationally acclaimed writer and critic. They are the author of eight books, including The Lonely City, Everybody and the Sunday Times bestseller The Garden Against Time. Laing's first novel, Crudo, won the James Tait Black Memorial Prize and in 2018 they were awarded the Windham-Campbell Prize for non-fiction.  In today's episode, Laing sits down with host Mythili Rao to discuss their latest novel, The Silver Book. The Silver Book is at once a queer love story and a noirish thriller, set in the dream factory of cinema.  Weaving a fictional account from the creation of Federico Fellini's flamboyant biopic Casanova and Pasolini's notoriously shocking, Salò, or 120 Days of Sodom, Laing explores the difficult relationship between artifice and truth, illusion and reality, love and power. If you'd like to become a Member and get access to all our full conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rufus Wainwright is a singer-songwriter and composer renowned for his distinctive voice and the theatricality of his performances. Born into a family of folk musicians, his mother was Kate McGarrigle and his father is the songwriter Loudon Wainwright III. Since his debut in 1998, his 11 studio albums have been characterised by their candid autobiographical themes, with songs about addiction, sexuality and fraught family dynamics. He has also worked as a classical composer, with his operas Prima Donna and Hadrian, and a choral piece called Dream Requiem. As a performer he has created musical tributes to Judy Garland, Shakespeare's Sonnets, the songs of Kurt Weill, and most recently has staged symphonic versions of his much-loved Want albums.Rufus Wainwright tells John Wilson about his earliest musical experiences, singing with his mother and aunties in Montreal, Canada where he spent his early years. He chooses The Wizard Of Oz as one of his formative creative influences and explains why the film's star, Judy Garland, became such an important musical role model for him. Rufus reveals how hearing Verdi's Requiem at the age of 13 led to a lifelong love of opera and an aspiration to write classical compositions. He also recalls the impact that seeing La Dolce Vita, director Federico Fellini's masterpiece about wealth and decadence in 1960s Rome, had on him as a teenager. Producer: Edwina Pitman

Radu Jude's DRACULA is, technically speaking, yet another movie about one of the most depicted antagonists in all of cinema, but in actuality it's about a different beast that has fascinated filmmakers for nearly as long: filmmaking. Within the grand tradition of “movies about moviemaking,” DRACULA's surreal humor, combined with its focus on a struggling filmmaker fantasizing about the film he might make, gave us an excuse to revisit an all-time classic of the form, Federico Fellini's 8 1/2. So this week we search for meaning within 8 1/2's reveries of a blocked creative mind, interrogate the “semi” part of Fellini's semi-autobiographical approach, and touch on some of the other films that exist in the shadow of this one. Then in Feedback, our recent pairing of RUNNING ON EMPTY and ONE BATTLE AFTER ANOTHER inspires a supplementary-listening suggestion for the former, and a head canon explanation for one of our questions about the latter.Please share your thoughts about 8 1/2, DRACULA, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Intro: 00:00:00-00:05:128 1/2 Keynote: 00:05:12-00:11:398 1/2 Discussion: 00:11:39-48:26Feedback/outro: 00:48:26-end Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we had the pleasure of sitting down with Olivia Laing to discuss their extraordinary new novel, The Silver Book, which has been selected as a Hatchards Book of the Month for November. Set amid the turbulence of Italy's Years of Lead, the novel is full of rich and deliberate contradictions: it's a love story coloured by political extremism; a journey through Rome's legendary film studio, Cinecittà, that sidesteps glamour in favour of the artisans and craftspeople who brought cinematic illusions to life. At its heart is a character who recalls Patricia Highsmith's Tom Ripley, though driven more by naïveté than malice. Olivia spoke with us about the deep immersion in Italian history and culture that informed their writing, and about the figures of Federico Fellini and Pier Paolo Pasolini — both major characters in the novel — whose contrasting creative visions shaped modern Italian art and cinema. They also reflected on how Italy's fraught political history continues to resonate today, offering unexpected parallels with contemporary Britain. Hosted by Ryan Edgington and Matt Hennessey.

A HOUSE OF DYNAMITE is built on an undeniably hooky premise — a nuclear missile originating from an unknown source is heading right for us — but is that premise enough to support a successful movie? We're joined once again by critic and author Jason Bailey to unpack that question, particularly as it applies to the film's triptych structure and nervy ending gambit. That ending comes back into play when we reintroduce 1964's FAIL SAFE for Connections, to see how Sidney Lumet's Cold War thriller compares to Kathryn Bigelow's modern-day nuclear scenario in their respective depictions of human connection — personal, professional, and adversarial —amid humanity-threatening catastrophe. Then we keep it in the nuclear family for Your Next Picture Show, with a recommendation for the 1983 TV movie THE DAY AFTER, as well as some of its pop-cultural fallout. Please share your thoughts about FAIL SAFE, A HOUSE OF DYNAMITE, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Radu Jude's DRACULA and Federico Fellini's 8 1/2 Intro: 00:00:00-00:02:33 A House of Dynamite discussion: 00:02:33 - 00:24:41 A House of Dynamite/Fail Safe Connections: 00:24:41-47:56 Your Next Picture Show and goodbyes: 00:47:56-end Learn more about your ad choices. Visit megaphone.fm/adchoices

For the British writer and cultural critic Olivia Laing, restoring and tending to their backyard garden has prompted complex questions of power, community, and mystery, concepts that they beautifully excavate in their latest book, the fascinating and mind-expanding The Garden Against Time: In Search of a Common Paradise. Whether in their nonfiction works, including the critically acclaimed The Lonely City (2016), their art and culture writing and criticism (2020's Funny Weather: ​​Art in an Emergency), or their novels (2018's Crudo and the forthcoming The Silver Book, out this November), Laing turns an incisive eye to examining what it will take for people—our “temporal selves,” as they put it—to forgo loneliness and isolation, reconnect with nature and one another, and flourish on a planet in crisis.On this episode, recorded in their apartment at the Barbican in London, Laing explores gardening and writing's symbiotic relationship; the act of rebelling against a reactive culture by embracing slowness; and the importance of imagining, in vivid detail, the kinds of utopias we could one day very well live in.Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes:Olivia Laing[4:35] The Barbican[7:39] “The Garden Against Time” (2024)[7:53] Mark Rumary[9:08] Notcutts[14:08] “The Lonely City: Adventures in the Art of Being Alone” (2016)[16:07] Jhumpa Lahiri[18:41] Piet Oudolf[19:21] Middleton Place[19:21] The Sackler family[22:54] “Modern Nature” (1991)[24:07] “Paradise Lost” (1667)[25:40] “The Secret Garden” (1911)[25:40] “Tom's Midnight Garden” (1958)[29:29] “The Garden” (1681)[30:29] “Everybody: A Book About Freedom” (2021) [35:07] “The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma” (2014)[39:57] David Wojnarowicz's "Magic Box"[39:57] Ana Mendieta[40:51] Agnes Martin[43:08] “Funny Weather: ​​Art in an Emergency” (2020) [45:29] “Crudo” (2018) [48:20] “A Dance to the Music of Time” (1951–1975) [50:29] “The Silver Book” (2025)[52:48] Federico Fellini[52:48] Pier Paolo Pasolini[55:17] “News from Nowhere” (1890) 

Jackie and Greg shed a solitary tear for Federico Fellini's NIGHTS OF CABIRIA from 1957. Topics of discussion include the wide-eyed central performance from Giulietta Masina, the film as a transitional work for Fellini, its episodic structure, and how it continues to ripple through the ensuing decades of cinema as a defining work.The continuation of our "Personal Prints" series where Jackie and Greg venture off the Sight & Sound list to explore films that are special and/or formative to them.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Send us a textIn this episode, we spotlight Claudia Cardinale, one of the most captivating actresses of European and international cinema. Known for her striking presence and unmatched versatility, Cardinale became a symbol of both Italian and French film throughout the 1960s and 70s.We'll explore:

Matthew Bannister onSir Nicholas Grimshaw, the architect who designed the international terminal at London's Waterloo Station and the Eden Project.John Stapleton, the TV presenter who fronted Watchdog with his wife and ITV's breakfast and daytime shows. His friend Greg Dyke pays tribute.Mary Elizabeth Dodd, the physiotherapist who pioneered new treatments for cystic fibrosis.And the glamorous Italian film star Claudia Cardinale who was a muse for the directors Federico Fellini and Luchino Visconti.Interviewee: Andrew Whalley Interviewee: Greg Dyke Interviewee: Professor Kevin Webb Interviewee: Rita Di SantoProducer: Ed PrendevilleArchive used: The Late Show, BBC Television 01/02/1989 ; The Eden Project, BBC News 15/03/2001 ; Desert Island Discs – Nicholas Grimshaw , BBC radio 4 , 14/12/2003; John Stapleton in conversation , BBC Radio Wales 01/11/2013; John Stapleton, Argentina report; Newsnight, BBC Two, 13/04/1982 ; John Stapleton , report on Motorways, Nationwide, BBC One, 01/03/1976; The Time The Place, Central Television, ITV, 09/11/1992; John Stapleton, BBC Election 1987, 12/06/1987; Watchdog, BBC One, 11/01/1988 ; John Stapleton report, Panorama, The Class of 81, BBC One, 07/09/1981; Life File , BBC 12/02/1988; The Leopard, director: Luchino Visconti, from the novel by Giuseppe Tomasi di Lampedusa, Twentieth Century-Fox Film Corp 1963; Hardtalk - Claudia Cardinale , BBC 29/11/2011

Sta facendo il giro d'Australia, in scena fino al 5 ottobre con oltre 50 date, "Corteo" una produzione di Cirque du Soleil ispirata al film "I clowns" di Federico Fellini.

As the National Theatre's production of The Importance of Being Earnest transfers to the West End with Stephen Fry taking the role of Lady Bracknell, but do older actresses lose out when men are cast in women's roles? Nikolai Foster, Artistic Director of the Leicester Curve Theatre and Nicky Clark, founder of the Acting Your Age Campaign discuss. The bestselling author of Yellowface, R.K. Kuang, discusses her new novel Katabasis.Director Daniels Evans talks about his production of Born With Teeth which sees actors Ncuti Gatwa and Edward Bluemel reimagine the relationship of Marlowe and Shakespeare.And we hear archive of the late actor Terence Stamp, one of the defining cinematic figures of his generation talking about working with Federico Fellini.Presenter: Samira Ahmed Producer: Ruth Watts

On n'épouse jamais son fantasme, disait le cinéaste italien Federico Fellini. Il se pourrait bien que la peinture épouse tous les fantasmes d'une peintre diplômée de l'École Nationale Supérieure des Beaux-Arts de Paris, née en Iran. Silhouettes de femmes apprêtées sur un champ de ruines, visage de femme poignard sous le menton, beauté de femme blanche enlaçant beauté de femme africaine, scènes de guerre, allusion biblique ou mythologique, les toiles de Nazanin Pouyandeh font place à l'humanité. (Rediffusion) Mais, foin de blabla droit-de-l'hommiste, non, Nazanin n'a d'yeux que pour une humanité féminine, transgressive, désobéissante à l'image de son exposition éponyme à voir en ce moment à Montpellier, en France. Bien sûr, nos yeux d'amoureux, de journaliste, de critique, vont chercher des indices de sa vie passée en Iran. Ils vont chercher des tapis persans, des tapis volants, des préjugés coiffés de turban, chers vous tous, passez votre chemin... La Pouyandeh n'est pas l'Iranienne de service attendue, c'est une guerrière, peut-être bien une amazone.

Iniziare a studiare l'italiano è come aprire la porta a un mondo ricco di cultura, storia e bellezza. Se sei uno studente straniero che ha appena iniziato questo percorso, sappi che stai intraprendendo un'avventura straordinaria che ti cambierà per sempre. L'italiano non è solo una lingua: è musica, arte, passione e tradizione millenaria. Un viaggio completo, che la mia amica Diana ha intrapreso e condiviso con noi. Cominciare a Studiare Italiano Oggi Perché l'Italiano Ti Cambierà la Vita Imparare l'italiano significa entrare in contatto con una delle culture più influenti del mondo. Quando pronuncerai le tue prime parole in italiano, non starai solo comunicando: starai abbracciando la stessa lingua che ha dato voce a Dante, Leonardo da Vinci, Federico Fellini e milioni di persone che hanno reso l'Italia famosa per la sua creatività e il suo calore umano. La lingua italiana ti aprirà porte che nemmeno immaginavi esistessero. Potrai comprendere l'opera lirica nella sua forma originale, assaporare la vera essenza della cucina italiana leggendo ricette autentiche, e soprattutto, potrai connetterti con oltre 65 milioni di madrelingua italiani e altri milioni di persone che, come te, hanno scelto di imparare questa bellissima lingua. Le Prime Espressioni che Ti Faranno Sentire Italiano Ecco alcune espressioni fondamentali che ti aiuteranno a sentirti subito parte della comunità italiana. Ogni volta che le userai, noterai come gli italiani ti accoglieranno con un sorriso più caloroso: "Prego" - Questa piccola parola magica significa "prego", "di niente" e "si accomodi" allo stesso tempo. È il passepartout della cortesia italiana. Esempio: quando qualcuno ti ringrazia, rispondi semplicemente "Prego!" e vedrai l'effetto. "Mi scusi" - Per chiedere scusa o attirare l'attenzione educatamente. Esempio: "Mi scusi, dove si trova la stazione?" ti aprirà molte conversazioni utili. "Che bello!" - L'espressione dell'ammirazione italiana per eccellenza. Gli italiani la usano per tutto ciò che li colpisce positivamente. Esempio: davanti a un tramonto, a un piatto delizioso o a una storia interessante, un sincero "Che bello!" ti farà sembrare già un vero italiano. "Non c'è problema" - L'atteggiamento rilassato e accogliente tipicamente italiano. Quando qualcuno si scusa o sembra preoccupato, questa frase dissolve ogni tensione. Frasi di Sopravvivenza per le Prime Settimane Queste frasi essenziali ti salveranno in moltissime situazioni quotidiane e ti daranno la fiducia necessaria per iniziare a comunicare da subito: "Sto imparando l'italiano" - Questa frase è il tuo superpotere! Gli italiani adorano chi sta imparando la loro lingua e diventeranno immediatamente i tuoi migliori insegnanti. Preparati a ricevere incoraggiamenti, consigli e molta pazienza. "Può ripetere, per favore?" - Non aver mai paura di chiedere di ripetere. Gli italiani apprezzeranno il tuo sforzo di capire e parleranno più lentamente per aiutarti. "Come si dice... in italiano?" - Questa domanda trasformerà ogni conversazione in una lezione di italiano gratuita. Gli italiani sono orgogliosi della loro lingua e saranno felici di insegnartela. "Grazie mille!" - Più enfatico di un semplice "grazie", questa espressione mostra il tuo entusiasmo e la tua gratitudine in modo tipicamente italiano. Espressioni che Mostrano la Tua Passione per l'Italia Queste espressioni più avanzate ti permetteranno di dimostrare il tuo vero interesse per la cultura italiana e creeranno connessioni più profonde con le persone che incontri: "Mi piace molto l'Italia" - Semplice ma efficace. Questa frase aprirà conversazioni sulla cultura, sui luoghi da visitare e sulle tradizioni locali. "La cucina italiana è fantastica" - Un complimento che non fallisce mai! Preparati a ricevere inviti a cena e ricette di famiglia tramandate da generazioni. "Che bella lingua!" - Quando esprimi ammirazione per l'italiano stesso,

Welcome to It's A Wonderful Podcast!A celebration of a selection of the best Italian movies in history all August long as we have FIVE great movies to delve into from the shores of that most wonderful of countries!Federico Fellini starts off the series this week as Morgan and Jeannine dive deep into the psychology, frivolity, celebrity obsession and soullessness in perhaps the most famous Italian movie of all time; the rather ironically titled LA DOLCE VITA (1960) starring Marcello Mastroianni, Anita Ekberg & Anouk Aimee!Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The It's A Wonderful Podcast Theme by David B. Music.Donate:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IT'S A WONDERFUL PODCAST STORE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!!Keep up with us on (X) Twitter:Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Morgan:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jeannine:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_Keep being wonderful!!

La Dolce Vita (1960) marked a huge milestone in world cinema: the passing of Italian neo-realism to a new generation less steeped in war and poverty, more affluent and optimistic, and hungry for a taste of all the glamour that television, rock n roll, and 7-day-a-week PR would bring. Yet the film was rooted in the old world, with its powerful criticism of crumbling morals and the increasing shallowness of modern life. It also heralded the full flowering of Federico Fellini, considered by many even today one of the greatest film directors of all time. While the impact 65 years ago was huge, what impact can the film hold today? Don't miss our young panel's reaction to this classic and find out whether this masterpiece still resonates in a timeless way or has already faded like an old black-and-white print. Hosts: Mark Netter & David Tausik Panelists:  Guy Lewis, Kylee LaRue & Olive Goldberg Editor: Josh Tillman An ElectraCast Production  Trailer: https://www.youtube.com/watch?v=JPBpHtf9kSQ Wikipedia: https://en.wikipedia.org/wiki/La_Dolce_Vita IMDB: https://www.imdb.com/title/tt0053779/ Ebert Review: https://www.rogerebert.com/reviews/great-movie-la-dolce-vita-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices

Castaneda se mueve entre el mundo tangible y el de los espíritus y fuerzas telúricas con la mediación de plantas psicotrópicas como el peyote y las daturas y el hongo. Sus libros interesaron por gente tan dispar como Octavio Paz, Joyce Carol Oates, Fernando Savater, Federico Fellini y… Julio Cortázar. ¿Qué hace este libro en su biblioteca? Escucha este podcast para averiguarlo. Participan del dramaturgo Marc Caellas y el periodista Fidel Moreno. 

Luisa Opalesky is our special guest as we talk about how Federico Fellini's "8 1/2" and Bob Fosse's "All That Jazz" embody the spirit of her new book, "Big City Nobody," how the two movies are connected through Italian cinematography, seeing yourself in photographs you take of other people and more!*This episode was a Patreon exclusive*

The Wrap Beers return for another week on the pod. To start things off, The Beers introduce what we are drinking for this episode - Athletic Brewing Company's non-alcoholic Free Wave (1:35). The Beers then discuss a trip to the iconic Film Forum on Houston Street to see a rare showing of Federico Fellini's 8 1/2 in one of the more unique movie-watching experiences to date (6:01). Dylan shares his review of the 2001 British crime film SEXY BEAST, directed by Jonathan Glazer and starring Ben Kingsley in an Oscar-nominated performance (19:56). Roger follows up with another British-heavy movie, offering his review of Guy Ritchie's THE GENTLEMEN, which stars a heavyweight cast featuring Matthew McConaughey, Charlie Hunnam, Collin Farrell, Hugh Grant, and Jeremy Strong in one of the more beloved dark comedies since the pandemic (30:37). To wrap it up, The Beers give a quick recommendation for Seth Rogen's new comedy series THE STUDIO (36:40).Got a movie, TV series, or doc we should talk about? Send it! thewrapbeers@gmail.comFollow!https://www.instagram.com/thewrapbeers/https://www.tiktok.com/@thewrapbeerspodDylan - https://www.instagram.com/dylan_john_murphy/Roger - https://www.instagram.com/rogerzworld/Subscribe!https://www.youtube.com/@thewrapbeers Letterboxd!https://letterboxd.com/wrapitupb/ Intro & Outro Music by Matt Kuartzhttps://www.instagram.com/mattkuartz?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw%3D%3D

The Story of a Cheat (1936) / InterVista (1987) This week we're embracing the powers of the false as we cheat our way through life with Sacha Guitry and get lost in layers of lies in Federico Fellini's Cinecittà

We talk about the cinematography in Federico Fellini's "Juliet of the Spirits" from 1965, why it's Hollis Monk Thayer's favorite movie when it comes to color cinematography, Stephen's first time reaction to it, how still photography has so many differences with this production, Giulietta Masina's performance, the benefits of watching art films and more!*This episode was a Patreon exclusive*

Rosita Steenbeek is schrijver. Na haar studententijd vertrok ze naar Rome, waar ze midden in het culturele leven belandde. Ze raakte bevriend met grote namen als Alberto Moravia, Federico Fellini en Marcello Mastroianni. Vanuit Rome schreef ze voor onder andere Vrij Nederland en vertaalde ze werk van Moravia en Susanna Tamaro. Verder schreef ze succesvolle romans zoals ‘De laatste vrouw', ‘Intensive Care' en ‘Ander licht'.     Nu komt Steenbeek met haar nieuwe boek ‘Over antieke wegen'. Na het verlies van haar moeder ondernam Steenbeek samen met fotograaf Art Khachatrian een fietsreis van Rome naar Mycene. Ze volgden de eeuwenoude Via Appia dwars door Italië en staken vervolgens over naar Griekenland. Een zware fietstocht vol bergpassen en nachtelijke ritten werd een emotionele reis, waarin ontmoetingen met mythische plekken haar dichter bij het verleden en haar moeder brachten. Femke van der Laan gaat met Rosita Steenbeek in gesprek.

*Patreon Episode Preview* Luisa Opalesky is our special guest as we talk about how Federico Fellini's "8 1/2" and Bob Fosse's "All That Jazz" embody the spirit of her new book, "Big City Nobody," how the two movies are connected through Italian cinematography, seeing yourself in photographs you take of other people and more!

Listen on:Apple Podcasts:https://podcasts.apple.com/us/podcast/watchdog-on-wall-street-with-chris-markowski/id570687608 Spotify: https://open.spotify.com/show/2PtgPvJvqc2gkpGIkNMR5i Watch on: https://www.youtube.com/@WatchdogOnWallstreet/featuredChris compares the chaotic state of U.S. trade policy to a disjointed Federico Fellini film, highlighting the confusion and improvisation he sees coming from the Trump administration's handling of tariffs and trade wars. Markowski critiques Trump's inaccurate historical claims about tariffs and the Great Depression, explains how China's economy is straining under the pressure, and gives a historical overview of how trade wars contributed to World War II. He warns that abrupt tariffs destabilize businesses, spook consumers, and fail to solve long-standing problems. Amidst the uncertainty, Markowski calls for a smarter, more strategic approach to trade, rather than reactive chaos.  www.watchdogonwallstreet.com

*Patreon Episode Preview* We talk about the cinematography in Federico Fellini's "Juliet of the Spirits" from 1965, why it's Hollis Monk Thayer's favorite movie when it comes to color cinematography, Stephen's first time reaction to it, how still photography has so many differences with this production, Giulietta Masina's performance, the affect of watching art films on your life and more!

This week we dive into our 2nd installment of the Movies About Movies Festival with Federico Fellini's 1963 odd masterpiece 8 1/2. A film about a struggling filmmaker who has too many expectations and resorts to his dreams and fantasies to give him direction. What a ride! Enjoy!