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πKaufen Sie 2 und erhalten Sie kostenlosen Versandππ₯Damen Lockeres, Geteiltes, Faltenfreies LangarmkleidSparen Sie 50% fr eine begrenzte Zeit GRSSENTABELLE FEATURES PERFEKT FR DEN SOMMER: Das hochwertige, leichte und atmungsaktive Baumwollmischgewebe sorgt fr eine bequeme und schmeichelhafte Passform, die sich den ganzen Tag ber mit Ihnen bewegt. Bleiben Sie frisch, auch wenn die Sonne brutzelt. KNITTERFREIER STOFF: Es ist aus einem speziellen knitterfreien Stoff gefertigt und behlt den ganzen Tag ber sein frisches, glnzendes Aussehen. Es muss nicht
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3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didnβt feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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5
βThe fragments of a lifeββ¦
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that Iβve seen the world, βlo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, weβd only viewed rather straightforward movies of βgood and evil,β Westerners, and the like. Predictable endings. The director of β8 Β½,β Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of oneβs life get all jumbled up in the brain. And he provided some takeaways that have long been with me.
I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are βfragmentsβ in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk AimΓ©e, who was the motive force behind the re-watching of it now. There is the βvirginalβ Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guidoβs flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wifeβ¦
βUpstairs when you are 40.β That was one of the big takeaways. Anselmi is having this male fantasy about his βharem,β all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the βstripperβ is now 40 and must go upstairs, the metaphor for being placed on the βdiscard pileβ for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip.
It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like βimpoverished poetic imagination,β βoverabundant symbols,β and, of course, βself-indulgent.β
I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published βThe Index of Forbidden Books,β (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated.
Anouk AimΓ©e is absolutely mesmerizing. She has been a βfragmentβ of my own life, ever since I viewed βA Man and a Womanβ in the β60βs. Again, she played opposite the equally formidable Jean-Louis Trintignant, of βZ,β βThree Colors, Red,β and so much else, fame. Far more relevantly, the two of them recently played in βThe Best Years of Our Lives,β again directed by Claude Lelouch. AimΓ©e is now a young 90. In her role as Anselmiβs wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies.
It struck to the core. Luisa is utterly fed up with Guidoβs philandering and constant lies. And Guido is suffering from βdirectorβs blockβ in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: βBut what can you say to strangers when you canβt tell the truth to the one closest to youβ¦β.
The only problem is that Iβve felt that line was said in Ingmar Bergmanβs βScenes from a Marriage.β And maybe that line was ALSO said in Bergmanβs movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe AimΓ©e would also. 5-stars, plus for Felliniβs classic, formidable film.
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Reviewed in the United States on March 14, 2023
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5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across.
The Movie:
Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc.
The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture.
The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined.
So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem.
The DVD:
First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman.
Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*.
The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay.
Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again.
Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024
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5
A Tangled (But Necessary) Mess
My rating is more of a 4.5
Thanks for reading!
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8 & Β½ s a 1963 Italian surrealist psychological comedy-drama film directed and co-written by Federico Fellini.
Troubled Italian filmmaker Guido Anselmi struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical.
In the time it takes to complete a single project a director will don countless hats and faces, 8 & Β½ centered around the demands of this position and the chaos that transpires on a given film set.
Born January, 20th, 1920, Fellini started working on movies in the capacity of a screenwriter, his earliest works including varying radio sketches and recipiency of his first screen credit for π»ππ π·πππππ'π π«ππππ in 1940. Shortly thereafter Fellini found himself continuously having more responsibility put on his plate, with some assignments requiring him to provide labor he hadnβt expected before: example of which being when he had to some acting of his own while π³'π¨ππππ (1948) was in production. These roles run amok in 8 & Β½, eventually culminating in Guidoβs hesitancy to hand full reign of a given task to a given (But seemingly qualified) colleague, his worry somewhat rooted in the anticipated receptiveness of his anticipated audience to his final product; likewise, this disposition is further informed by what Felliniβs perceived as overt failures prior to the 8 & Β½, as π½ππππππ π³πππππ (1950) left him with debts that took a decade to resolve on the account of it being poorly received. So begs the question at the root of Guidoβs tangential laments and ruminations: Should movies be made primarily for an audience as a remote victory or reflective of its crew as a personal disaster?
8 & Β½ opens on Guido Anselmi: Marcello Mastroianni bringing just the right amount of cool and cosmopolitan with an almost hitman disposition; as the production he is in charge of unfolds his appearance cracks under the pressure of this creation, in due time revealing someone that isnβt as confident as he appears and further upon at great risk of sinking in to an otherwise listless existence.
Anselmiβs woes are interspersed with what can only be described as hazy dreams, the latter more overtly inspired by the subjects of religion and a pair of parental figures whom remain unimpressed by their sonsβ abilities after having already passed away. Further investigation reveals to what extent these may be manifestations of insecurity on Felliniβs behalf; prior to working on films Fellini enrolled in a law school for the sake of pleasing his parents (though no record exists of him ever attending a class), and in spite of considering himself to be Catholic he avoided former activity in a corresponding church. No-one can speak with confidence as to what drove this refusal, except to say on the topic of faithfulness in the context of his marriage he was a known transgressor: so much so that in spite of marrying Giulietta Masina in 1943 he attended the funeral of his father with an identified mistress in 1956. Whether out of embarrassment, shame, or whatever else may be attributable, Guidoβs stream of consciousness (And disloyalty to his partner Luise), as it play out in 8 & Β½ is a muddle of personal experiences, and then some as evidenced by Felliniβs own comments aside:
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8 & Β½ in its infancy came to Fellini in 1960, at that time described as being about a man with an unidentified profession suffering from creative block on the account of his life being disrupted by a βnot-too-serious diseaseβ. Given the go ahead to start production in 1962, Fellini would eventually draft a letter confessing that he had βlost his filmβ with the intent of abandoning the production, this action interrupted by a request to launch the celebration of it; it was only then that Fellini decided to tell a story about a director who know longer knew what kind of film he wanted to make. Both a sign of the times and personal preference, 8 & Β½βs dialogue was edited and finalized in its post-production phase: a practice that allowed for the use of less experienced actors at the cost of them needing more direction on set in addition to the dubbing of related noises after the fact. In light of this, and perhaps needless to say, what 8 & Β½ reflects in regards to stifled expressiveness feeds into its otherwise harebrained pacing, not to mention the drab of its monotone landscape.
During the earlier part of Fellini's career his film related assignments took on an ulterior motive: they allowed for him to avoid the draft associated with a declaration of war made against France and Britain on Benito Mussoliniβs behalf, and was something that would inform the nature of his work until approximately 1945. The extent to which this habit of coming on board any given film-related opportunity affected the entirety of his filmography was never addressed - much less inquired about - though it would be appropriate to underscore what this had to have demanded in light of reception that was unpredictable. The good news is that by the time 8 & Β½ was released Fellini had made well-enough of a name for himself given the broad applicability of the themes he entertained, though this established competency made him no more immune to the demands made by the Production Studios heβd end up collaborating with: this is most reflected in 8 & Β½βs conclusion, as it was originally intended to implicate suicide more explicitly as a βviable optionβ for Guido. Fairly describable as a tangled mess of hope, fantasy, and some extent delusion, 8 Β½ walks that fine line between pleasing the masses and rubbing its own ego, and perhaps thatβs why it was robbed of its working title, βπ»ππ π©ππππππππ πͺππππππππβ; but, then again, maybe thatβs what happens when art imitates life and vice versa.
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Reviewed in the United States on May 13, 2024