The Trylon’s series on Federico Fellini kicked off with his seminal film 8½, and it’s a hell of a way to start Trylove’s 2026! A hailed director struggles to find the determination to see his latest movie through to the end, instead spending most of his time daydreaming about his past, his present, and the various women who float through them. Then, the movie zooms out to depict THAT story as a movie production directed by the same guy, complete with its own writers, producers, critics, and cast. Whoa!
It’s kinda silly in a fun way, and it’s a pretty neat trick, especially for 1963 — but does it hold up today? Or is it a bit too clever for its own good? We’ve actually rather divided on this one, and for several different reasons! Do you expect anything less?
References:
“The Burnt-Out Artist and the Truth: Federico Fellini’s 8½”
by Dan McCabe for Perisphere, the Trylon blog
"Italy Bans Films Shown at Venice"
in Variety, September 1963
“Give to the Trylon’s
Film Forever Fund
so they never have to increase ticket prices!
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#FelliniInBlackAndWhite #35mm
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Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters.
Timestamps
0:00 - Episode 364: 8½ (1963)
3:33 - The Patented Aaron Grossman Summary
5:57 - Our unique viewing experiences
16:30 - Tight directing, loose storytelling
35:57 - The ending
43:58 - What strings you along?
54:05 - Saraghina, the dancer on the beach
1:01:17 - Guido’s hero/martyr complex
1:06:14 - The Junk Drawer
1:12:43 - To All the Loves We’ve Tried Before: 1963
1:14:29 - Cody’s Noteys: 2026 Movie Resolutions
