Director: Federico Fellini
Cast: Peter Gonzales, Fiona Florence, Britta Barnes
Italy, France 119’, 1972, color
Italian, German, English, French, Latin and Spanish with Turkish subtitles
Fellini's 1972 ode to the city of Rome is far from a coherent narrative, but as a selection of images and sounds celebrating the famed Italian capital, it's dazzling and hugely enjoyable. Stylistically, it's a perfect bridge between the excesses of Satyricon and the nostalgia of Amarcord, and it showcases the true love that Fellini had for the Eternal City. Mixing autobiographical flashbacks with the travails of a present-day movie company making a film about the city (headed up by Fellini himself), Roma is an impressionistic tour de force, delivered via Fellini's unique cinematic vision. Through it all, Fellini's passion for Rome (and moviemaking) shines through, especially in the film's climax, a dialogue-free sequence of motorcycles roaring through the city at night, a tour that ends at the magnificent Colosseum. At that marriage of past and present, Roma is about as perfect as cinema can get.
Trailer
A closer look at the life and works of the artist Barbara Kruger, who is represented with two striking works in the exhibition And Now The Good News, a selection of works from the Nobel Collection.
The Bosphorus, which divides the city from north to south, separates two continents, renders Istanbul distinct for western painters, offers the most picturesque spectacles for western artists.
Over the years of 1864 through 1876, Stanisław Chlebowski served Sultan Abdülaziz in Istanbul as his court painter. As it was, Abdülaziz disposed of considerable artistic talents of his own, and he actively involved himself in Chlebowski’s creative process, suggesting ideas for compositions –such as ballistic pieces praising the victories of Turkish arms.
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