I won't discuss what masterpieces are or not, but I have never seen such an excellent film before, and there is no such bells and whistles of cgi now, all relying on the most simple lens movement and editing to create an amazing "big production". I only watched the movie once, and because it was too stream of consciousness, I didn’t have time to understand it, so let’s talk about the parts I understand. In my opinion, the movie can be divided into two parts, before the protagonist’s wife appears and after the appearance. What Rini wants to say is that "women can't save you, religion can't save you, only you can save yourself"; the theme after his wife's appearance is even simpler, which is nothing more than "the relationship between women and artists". The nature of the film should be similar to that of "The Four Hundred Blows", both of which are the director's autobiography, but the meaning is different. "The Four Hundred Blows" is largely Godard's use of his childhood "self" to explain the pursuit of free will, and even to accuse The social environment in which he lives, and "Eight and a Half" is to use dreams and reality to echo each other. In the end, Fellini "killed himself", let the body and soul shake hands and make peace, and let Fellini become Fei. lini. The clown and the little boy run side by side in the end credits, except for Fellini's circus plot, perhaps. . . Will the little boy be the clown when he grows up?
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