One of Federico Fellini's masterpieces and the entire history of Italian cinema, Otto e mezzo (1963), starring an unforgettable Marcello Mastroianni, returns to the big screen at Giunti Odeon. In existential and creative crisis, grappling with a film to make, a director makes a sort of general mobilisation of emotions, affections, memories, dreams, complexes, lies. ‘A mixture between a ramshackle psychoanalytical session and a messy examination of conscience in a limbo-like atmosphere’ (F. Fellini). ‘The masturbation of a genius’ (D. Buzzati). ‘An advanced stage in the history of the novelistic form’ (A. Arbasino). ‘A three-stage abyss construction’ (C. Metz). A Ben Hur of avant-garde cinema. An attempt at a self-portrait in fantastic form. An author's logbook. A report on an existential traffic jam. A film about the confusion and disorder of life. One of the greatest contributions to that renewal of expressive modes and the break with traditional dramaturgy that took place in cinema between the 1950s and 1960s, a renewal that Fellini had already begun with La dolce vita.