Fellini was happy to build from various different fragments. To put it more elegantly, he was capable of using loosely tied elements to create the thread of a story. A bit of the past, a bit of the present, a bit of history, a bit of autobiography, pieces of true memories, then a large chunk of fabricated memory. more
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Last event date: Monday, November 07 2022 7:00PM
A flighty yet ordered process that produces a precise and passionate image of places, eras, reality and memory. Fellini's Rome is an indispensable handbook for understanding and empathising with the culture, history and identity of Italy.
Just think back to La Dolce Vita! It feels like a united series of episodes held together by the personality of the protagonist Marcello. Though none of 8½, Satyricon and Amarcord is truly a work of dramaturgy either. On this occasion, Fellini doesn't even try to present this patchwork film as a united whole. He also integrates his usual complexities into the production, yet at the end of the film, when the motorcycle riders rumble into Rome, we understand that these patches are knitted together with a strong thread. While some contemporary critics saw it as straight-up poetry, others reacted against the fact that classic cinematic scenes were mixed with interviews and pseudo-documentary footage. Moreover, these often blend into each other. But hey, these are all layers of Rome. The remains of ancient Rome merge in with interpretations of the glorious past, and the glorious past merges the cult of Il Duce, until we suddenly find ourselves in a Fellini scene where honourable gentlemen hark back to the past as jackbooted policemen impassively observe the hippies. And we continually move from one of these layers to another. At the end of the film, a surreal priestly fashion show brings us into the future, spurred by the past and by memories, before then falling into the funereal dance of Nino Rota's music. Deconstructing this film is no easy matter...
In Italian, with Hungarian subtitles.
The discussions before and after the screening are conducted in Hungarian.
It could hardly be said that Zsigmond Móricz is an unknown figure in Hungarian literature. But to what extent does his image reflect the sheer diversity of his life's work? In recent decades, Zsófia Szilágyi's in-depth analysis of Móricz has done much to make the multifaceted nature of the author more accessible.
The world premiere of László Dubrovay's dance drama Faust, the Damned took place at Müpa Budapest in 2016, as part of the Budapest Spring Festival. This large-scale production inspired by Goethe's masterpiece debuted on the main stage of the National Theatre of Pécs in the 2023/24 season, and will run again in 2024 at Müpa Budapest's Festival Theatre.
Pursuing happiness, love and affection through countless adventures across this great wide world, but still eventually finding a final peace…
Angélique Kidjo dalaiban szívesen működnek közre a jazz, a soul, a pop világsztárjai, és ugyanúgy örömmel dolgozik együtt fiatal producerekkel,…
Everyone is welcome to come in colourful clothes, the programme is a mere 50 minutes in length (without an interval),…
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