[Revisit Review]
Federico Fellini's Juliet of the Spirits works best as a series of delirious images: a seance of shadow-shrouded faces, a red portable pavilion on a beach, rows of veiled nuns giving young girls in white papery wings, a girl in white tied to fiery bars of metal. In a way, the film is a companion piece to his earlier film La Dolce Vita (1960): both center on essentially passive protagonists who are paraded through a menagerie of upper class grotesqueries while on a skewed journey of self-discovery. Her fantasies seem more immediate and real than the bizarre things and people she actually encounters. For me, the best part of the film is the last act where her fantasies and memories of nuns and martyrs begin to bleed into her everyday life.
9/10
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