Playful existential comedy examines the relationship between personal integrity and creative inspiration. Fellini's meta-story of a filmmaker struggling to make a film has become a template unto itself, much like "Groundhog Day" or "Lone Wolf and Cub," and has been echoed by everyone from Bob Fosse to Charlie Kaufman to the Coens. The film succeeds in poking fun at its creator without ever feeling vindictive, and its fluid, mischievous camera movements and dazzling fantasy sequences make viewers feel like they are in on a humane and strangely relatable inside joke.

Greatest film of all time! Cinema is 8 1/2!

Filme mais ou menos, o roteiro é fraco, as cenas são mais ou menos, só a cena da dança do dois no meio da praça, a história é fraca, o elenco é fraco, e quase ninguém ajuda a melhorar o filme, e os personagens são fracos, e o filme deveria ter cenas bem melhores e relevantes para fazer o filme ser bom.

A great Italian film. Fellini is a fantastic director. This movie is about a filmmaker making a new film. There are several scenes of his childhood. Like “La Strada”, there are clowns in this movie.

Though the opening and a few other sequences in this can be amazing, 8 1/2 is too uninteresting in most other parts and too hard to follow for me to enjoy it.

Little known factoid. The first Mossad hit occurred during the premier of Fellini's 8 1/2 in Italy. It must have only been a few minutes in, what a great last thing to see before your brains are blown out by a .22.

Yes, I know, I'm ruining any chance I have of defining myself as a cinema aficionado, but I just couldn't get into this one. I found it rather boring.

Absolutely a masterpiece. An oniric, surrealistic opera from the master Fellini. Claudia cardinale cameo in the final scenes is the cherry on top.

I saw 8½ in a film class many years ago. Before it began, our professor informed the class this this is one of the greatest films of all time and that Federico Fellini is a filmmaking genius. However, that just proves that cinema is a subjective art form. It doesn't matter how many people say a film is amazing, it can still be awful for some viewers. This movie is the type that most people think of when someone says, "foreign art film." It's pretentious, confusing, and completely boring. Maybe I'll have to trade in my film nerd card for saying all of this, but I don't like most of Fellini's work.

Muito bom o filme! Com diálogos interessantíssimos .

There's no easy answer to the strange and exciting chaos of 8 ½! Italian auteur Federico Fellini's Italian surrealist comedy-drama 8½ (1963) is quite enthralling and totally original. Fellini crafts a strange, surrealist take on the struggles of creative blocks a director must overcome. But 8 1⁄2 is so much more than the plot of a director coming to terms with the fact that he does love his wife that he's been unfaithful to or that he's in over his head in making an ambitious sci-fi epic in Italian in the 1960's. Fellini genuinely made one of the greatest and most daring films of the entire 1960's and in the history of cinema. I almost cannot believe it is real as nothing this odd, surreal, esoteric, ambiguous, or visionary gets made anymore. Fellini's endlessly creative direction is bold and dreamy. I was constantly struck with how fluid the scenes felt, ever changing as more cast and crew members approached the director with complaints or women flirted with Guido in a hopeless search for his love. Fellini shows us old meaningful memories in dreamy flashbacks, a confused director named Guido uncertain of his picture's intentions, a man cheating on his faithful wife, and a wife who knows of his infidelity. Editor Leo Catozzo's abrupt cuts to flashbacks and then into reality or dreams is always shocking. I love how Fellini will have a scene play out in a long take for an entire conversation as cinematographer Gianni Di Venanzo will pan the camera around in wide shots to capture an entire party or meeting. The strange and creative perspectives are sincerely fascinating to see with magnificent close-ups on eyes and faces or swiftly sweeping medium shots. Writers Federico Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi weave an intricate narrative around the eccentric direction of Fellini. I appreciate the sympathy for women and the reflective nature towards the main man Guido looking back on his life. Their words feel humorous, philosophical, romantic, heartbreaking, or just plain silly as needed. Fellini is ruthless when making fun of his director character for his sordid past with numerous women, while sympathetic towards the wife who Guido is so inconsiderate towards as he cheats. Italian actor Marcello Mastroianni is fascinating as conflicted film director Guido Anselmi. He's supposed to be resting, but he's constantly bothered by people around him. Mastroianni is entertaining with his frustrated faces and forlorn expressions. Mastroianni channels Fellini's frustrations and Catholic guilt into the complex portrait of an intricate film director. Marcello Mastroianni delivers a marvelous dramatic performance that can be comedic or romantic on a dime. Italian actress Claudia Cardinale is lovely and voluptuous as Guido's ideal woman film starlet Claudia. Her alluring eyes and playful smile juxtapose her harsh criticisms of his sexism and lack of understanding about love and women. She's fun in her brief dreamy appearances. French actress Anouk Aimée is a scream as Guido's estranged wife Luisa Anselmi. She knows of his infidelity and yells at Guido with a realistic fury and disappointment at his shameful behavior. Anouk is amazingly pretty and likable. I immediately her pain and frustration at his faithlessness. She steals the entire film for me. Italian actress Sandra Milo is hysterical, bubbly, and gorgeous as Guido's talkative mistress Carla. She's so playful, cute, and funny with her comic book reading and pencil thin eyebrows drawn on by Marcello. I liked how she finds all sorts of ways to have fun. Italian actress Rossella Falk is a riot as Luisa's best friend who is scolding Guido for cheating on Luisa. She's a neat confidante as well as comedic relief from the marital tensions Guido and Luisa are going through. English actress Barbara Steele is lovely as Mezzabotta's new young girlfriend Gloria Morin. Her large eyes are so expressive and I liked her 50's dancing and mod hair. Mario Pisu is hilariously pathetic and sweaty as Guido's older friend Mario Mezzabotta. He's trying to be younger with his young English wife. French actress Madeleine Lebeau is elegant and fun as the French actress Madeleine, always begging Guido to know what role she is supposed to play in this esoteric sci-fi picture. Italian actress Caterina Boratto is intriguing as a mysterious lady in the hotel like the boisterous American actress Eddra Gale as the excitable prostitute from Guido's past La Saraghina. Guido Alberti is a riot as the constantly complaining film producer Pace, who wants definite answers from Marcello's Guido. Mario Conocchia is great as the forlorn production assistant Conocchia, thinking he's done in the industry. Jean Rougeul is fun as the philosophizing film critic Carini Daumier. Production designer Piero Gherardi makes a huge spaceship scaffolding set outdoors like the massive hotel. Set decorator Vito Anzalone puts all types of luxurious furniture everywhere. Composer Nino Rota creates both touching romantic melodies and hysterically chaotic music for Fellini. Sound designers Alberto Bartolomei and Mario Faraoni play around with mouth made noises for a lark besides the cacophony of voices colliding at once around Guido. Costume designer Piero Gherardi outdoes himself with lavish Italian designer suits and cloaks. I wish I could afford to dress like Marcello Mastroianni throughout 8 1⁄2. Makeup artist Otello Fava makes Marcello have cool silver hair and lets every actress look dazzling. Hairstyling from Renata Magnanti gives each lady massive flowing tresses. I liked the cute almost pixie cut for Anouk. In conclusion, Fellini certainly got his vision through into the miracle of cinema that is 8 ½.

Just getting into Fellini in my old age. Wow. This is a visual tour de force and just amazing from beginning to end. It's also lively, exuberant and sad all at once. The opening dream sequence kicks off a wild ride with too many great moments to list.

Boring.....just a silly movie. Ended with circus artists. Hmm.....

8 ½, Federico Fellini's masterpiece, is a film about the attempt to objectively assess and define one's life…and much more. Guido Anselmi (Marcello Mastroianni) is a film director going through a crisis of identity, trying to salvage what he can from a failing marriage while attempting to get over a creative block in the production of his latest film. Mastroiannni does a great job in the lead role with a character of significant depth, a man struggling to make connections with those in his life. Beautifully shot, 8 ½ has a distinct Bunuel-feel to it at times as it slips into moments of absurd but effective surrealism, most notably the opening scene. While not for all tastes, those who are able to provide the movie with sustained focus for its duration should be richly rewarded.

This is one of my favourite film all time. True magic of cinema. Everything is perfect.

Every artist, whether film-maker, novelist, musician, etc, should watch this movie whether they have a moment of creative block - for Fellini was inspired by his own creative block to make, what is, a masterpiece alongside La Dolve Vita. Every scene is just spectacular to watch! Certainly one of the greatest films of all time.

Experimentally inventive on blurring borderline surrealism with open-ended interpretations expressing ideal escapism while reflecting on life's nuanced impacts and provokes thought on connective creative sources under disheartened pressure, becoming a renowned classic in its own with unexpected scope and true storytelling fulfillment that the musically adapted remake palely trimmed. (B+)

Eterna rappresentazione della crisi esistenziale dell'artista, 8 e mezzo è da inserire di diritto nei primi 5 film più importanti di tutta la storia del cinema. Federico Fellini distrugge con questo capolavoro ogni logica rappresentativa fino a quel momento relativa alla crisi ed al mutamento, dimostrando ai posteri come utilizzare la settima arte per descrivere la psicologia dell'artista. Fotografia spaziale, sceneggiatura inimitabile, per non parlare del Cast, ove Marcello Mastroianni si impegna in una delle migliori interpretazioni della storia cinematografica. Film senza tempo.

This is truly a genius film. It symbolizes and means so much, that you must watch it multiple times. It is a truly delightful, anxiety-driven, and heart-wrenching experience.

The film uses a lot of dream symbolism, so you need to try your best to stick to the images that you see in front of you and use that to follow along. Despite the great dialogue and impressive technical work, the film would probably be more appreciated by fans who know Fellini's personal life, due to the correlation. May be a chore for the average viewer, but who knows, you may like it if you give it a chance.