“Behold, the gates of hell opening And now, the gates of heaven”
Although the films of Federico Fellini could always be correctly described as surreal and out there, what he and crew accomplished with Juliet of the Spirits was simply on another level, the surrealism found on this film could at sometimes border on creepy and almost horror-esque, Giulieta Massina is incredible as usual, she never missed anytime she and Fellini worked together, and once again Gianni Di Venanzo’s work on cinematography can only be described as exquisite, some of the best shots found on Fellini's filmography, and that’s saying something
“Behold, the gates of hell opening And now, the gates of heaven”
Although the films of Federico Fellini could always be correctly described as surreal and out there, what he and crew accomplished with Juliet of the Spirits was simply on another level, the surrealism found on this film could at sometimes border on creepy and almost horror-esque, Giulieta Massina is incredible as usual, she never missed anytime she and Fellini worked together, and once again Gianni Di Venanzo’s work on cinematography can only be described as exquisite, some of the best shots found on Fellini's filmography, and that’s saying something
