During these times, life is a combination of social distancing, hand-washing, and mask-wearing. “Wearing a mask alone will not prevent the spread of COVID-19. You must consistently and strictly adhere to good hygiene and public health measures, including frequent hand-washing and physical (social) distancing.” Original photo by Walter Albertin (1965)
MAJID ABBASI IRAN/CANADA
“There is no end. There is no beginning. There is only the infinite passion of life.” – Federico Fellini. Original photo by Walter Albertin (1965)
MAJID ABBASI IRAN/CANADA
Federico Fellini: the dreamlike and the real; the pathetic and the sublime; cruelty and compassion; happiness and desolation; the different, the extravagant and the common; provocation, humor, and entertainment; the circus of life.
RENATO ARANDA MEXICO
“The amazed and festive gaze of the villagers when they see the great ocean liner Rex pass by in the movie AMARCORD, serves as a metaphor to represent the way in which, one day, we discovered Fellini’s cinema and its world of surreal images and loaded with lyricism and also, the amazement that the cinema aroused in our childhood. I remember.”
FRANK ARBELO BOLIVIA
Solution is a reference to Fellini’s 8½ film — the dream sequence with guy on the end of a string.
Balloon on a string is a metaphor in many of his films. I like the idea of Fellini being a wrangler of fragile stories, balloon-like if you will.
ANDREW ASHTON AUSTRALIA
The symbolism of the butterfly leads to diverse associations with deep and powerful life of maestro Fellini.
FERENC BARATH HUNGARY
“Perfetto,” depicted here in the Italian tricolor, is one of the most famous Italian gestures. By putting an eye (a symbol of visual arts) into its focus, the artwork implies that Fellini is “perfect” in this field.
DAVID BARATH HUNGARY
Inspired by Fellini’s well-known quote: “Life is a combination of magic and pasta.”
MICHAL BATORY POLAND/FRANCE
LA DOLCE VITA is a cake with a bittersweet taste.
ISMET BERBIC B&H/UNITED STATES
Federico Fellini always saw his interpretation of reality through cinema. A suigéneris director who was able to innovate languages for his extraordinary
talent and creativity. I see him living his sweet dream, his sweet life, always with the expression of how to solve through his gaze a new interpretation that the audience understands for those who made films. A Cinematic Man.
XAVIER BERMUDEZ MEXICO
How to make a movie on a poster in three sequences: on the left, you see the profile of Fellini seen in the sheet; a second look at his profile, a portrait of his wife also in the sheet; and the third look, what do you think where is ?!
BORIS BUCAN CROATIA
Fellini was a talented journalist and caricaturist at a young age. A special feature of the Fellini films are the remarkable personalities with their character heads. He continues the tradition of expressive masks, the Commedia dell’Arte, with filmic means.
STEPHAN BUNDI SWITZERLAND
The poster is inspired by the movie GIULIETTA DE LOS ESPÍRITUS (JULIET OF THE SPIRITS). In this movie, Fellini uses color to involve the audience.
The poster is a tribute to Fellini's characters, to the women and the professional and sentimental bond between Giulietta and Federico, which becomes the centennial's gaze.
BENITO CABANAS MEXICO
Exuberant, baroque, or profound, the film director Federico Fellini was one of a kind nostalgic painter. The clown is Fellini’s double, who lets melancholia appear behind the happy makeup. I focused on three meaningful elements to avoid cliché and left the image open.
FRANCOIS CASPAR FRANCE
When I hear the name of Fellini, I see bosoms. Lots of them. Big, small, multicolored, the ones that hypnotize. Unless we see the “Capezzoli di Venere,” the Nipples of Venus, the cake specialty from Italy?
FRANCOIS CASPAR FRANCE
The key point of my design is related to the highlighting importance of Federico Fellini’s lifelong inspiration and muse, friend, wife, and world-known actress Giulietta Masina, who starred in his early Oscar’s winning films LA STRADA (1954) and NIGHTS OF CABIRIA (1957). Poster is based on photography by Branimir Tomic (1974)
EDUARD CEHOVIN SLOVENIA
Visually intriguing manipulation of letterforms, photography, and colors keep you wonder like in many scenes of Fellini’s films.
SAVAS CEKIC TURKEY
Fellini was a great dreamer. But even an inventor as he was couldn’t imagine humanity celebrating his 100th anniversary in medical masks!
VLADIMIR CHAIKA RUSSIA
VLADIMIR CHAIKA RUSSIA
8½ is the best movie I have ever seen in my life. Since receiving the invitation to design the poster, I have not hesitated to pay tribute to the great filmmaker F. Fellini and his wonderful film. There is Marcelo Mastroiani –his favorite actor– and the teacher analyzing the ‘close up’ through the cinematographic lens. It is an evident job”.
FELIPE COVARRUBIAS MEXICO
I set out to create a poster that represents the way that I feel when I experience a Fellini film. I was thinking of the final scene in LA DOLCE VITA when I chose to use the beach as my setting. I made the fanciful clouds to echo Fellini’s surrealistic imagery. I needed a period image of a single figure in the foreground. I used a 1935 photo of my father, Rev. Howard Davis. Any interpretation is left to the viewer.
PAUL DAVIS UNITED STATES
“FeFe Goes Hollywood” refers to the imagination of the viewer, which is so important in the work of Federico Fellini as it is in the poster’s symbolism of sign and gesture. The goal of the poster is to stimulate the recipient’s imagination and draw him into an interactive game. The recipient should imagine what will happen to the tomato when the base of the 4 kg massive metal Oscar statuette reaches the target. The title of the poster “FeFe Goes Hollywood” is inspired by the name of the band Frankie Goes to Hollywood, referring to Frank Sinatra. In my title, “FeFe” means Federico Fellini’s nickname.
LEX DREWINSKI POLAND/GERMANY
8½. A carnivalesque parade of musicians in a dreamlike landscape. Fellini’s artistic expression epitomized by the tuba, an instrument that embodies the sublime and the ridiculous in both form and sound.
ALICE DRUEDING & JOE SCORSONE USA
Frederico Fellini is the creator of the world of cinema: which belonged to him, and he belonged to this world completely. The red scarf, his favorite accessory, and the red carpet of fame are combined in one image. Fellini’s dreams and the art of his images are endless. Our opportunities depend on what we dare. He ventured a lot. He is with us and with the world for 100 years.
FALDIN FAMILY RUSSIA
The feminine universe is a constant in Fellini’s work. His life was full of women, and his cinema revolved around his obsession with them.
A dreamlike cinema in which reality is veiled by a halo of fantasy and eroticism.
ISIDRO FERRER SPAIN
In Fellini’s first color feature, an unfaithful husband sets in motion Juliet’s suspicions, doubts, and fears about herself and their marriage. The film presents a richly saturated series of visions, memories, and surreal events that force Juliet to choose between the purity of her faith or the passion and hedonism practiced by her neighbor. While the ending’s meaning is disputed, your orientation of this poster allows you to make the call.
TYLER GALLOWAY UNITED STATES
This is a tribute poster to Federico Fellini’s life. It is an admission to the world of any of Fellini’s films, and a winning prize ticket—a visual treat unlike any other. The perforation holes of the film strip symbolize his movies, while the elegant, colourful typography reflects the world of emotion depicted, and lived, through his films.
MARIA GERASIMCHUK-DJORDJEVIC UKRAINE/UNITED STATES
This page belongs to MILTON GLASER, our idol in many aspects, who left this world on June 26, 2020, at age 91.
We knew Milton personally since our arrival in the USA. In 1991 Paul Davis introduced me to Milton, and since then, all these years, thanks to Mirko Ilic’s assistance, he would stop by to Mirko’s studio to talk to my students in his fatherly manner and answer all their questions, big and small. Those yearly encounters have become deeply embedded in memories of all of us. I was lucky to have an opportunity to exchange some works with Milton and have a few posters and books inscribed with his dedication.
When I was curating an International selection for Sarajevo 100 project, he responded to our call, and, together with Mirko, they designed a beautiful diptych for that occasion.
We are sure that he would have contributed to the Fellini project too, but, unfortunately, his illness made him unable to do that – he took all his ideas with him to share them with Fellini.
The last time we saw Milton in person was a few days after his 90th birthday. We stopped by his studio to say hello and congratulate him… I still can feel his big, gentle, and skinny hand in mine... We will forever cherish Milton’s creative charisma, wisdom, generosity, and kindness.
– Cedomir and Iwona
Simple shapes and forms and their sublime arrangement suggest characters of a magical world seen throughout Fellini’s films.
JOANNA GORSKA & JERZY SKAKUN POLAND
Stylized visualization of the playful and naive main character exploited and abused, looking for love in the film LA STRADA
JOANNA GORSKA & JERZY SKAKUN POLAND
On the one hand, it references the artwork of his film SATYRICON, and on the other hand, the city that defined his life: Roma! The eternal city was not only Fellini’s chosen home but also the backdrop and inspiration for many of his films. This Italian Faun always knew how to seduce his audience with his Roman thoughts that have become fantastic images.
GOETZ GRAMLICH GERMANY
This poster is dedicated to strong masculine energy, which pierces all the great film director’s creations.
GRAFPROM STUDIO UKRAINE
If Federico Fellini were a fashion designer - he would dress his models in light and shadow.
GRAFPROM STUDIO UKRAINE
“Sweet sadness expressed in a great poetical way.”
MARTA GRANADOS COLOMBIA
Federico Fellini, the filmmaker – I integrated photography, clear film, and vintage transfer type to suggest the surprising viewpoints he imagined. Typographic characters turn in a transparent movement, showing simple and complex relationships at the same time, like Fellini’s human characters. After I finished the work, I was reminded of the affection many Italians have for their hometown campanile. Fellini’s tower is seen worldwide.
JOHN GRAVDAHL UNITED STATES
As a kid, I was obsessed with Fellini’s movies. His witty definition of life consists of good pasta, and some magic became my primary inspiration for the poster.
I inserted the word dolce as an addition to his definition, so it became LA DOLCE VITA... Original photo by Pierluigi Praturlon (1954)
BOJAN HADZIHALILOVIC B&H
The many works of Federico Fellini, the enlightenment and contributions he has brought to the movie industry, are bright stars shining in the midsummer Milky Way. In the endless flow of human culture, he will always be one of the most brilliant.
JIANPING HE CHINA/GERMANY
Fons Hickmann designed the diptych in the Italian national colors. Both works mimic the expressive Fellini lettering and are as well posters for Fellini’s masterpiece.
FONS HICKMANN GERMANY
Fellini is imagination, baroque, and circus.
RADOVAN JENKO SLOVENIA
FF: “I don’t dwell too much on what it is that inspires me. Instead, I have to be in touch with my delusions, my discomforts, and my fears; they provide me the material with which I work. I make a bundle of all these, along with my disasters, my voids, and my chasms, and I try to observe them with sanity, in a conciliatory manner". Even Federico Fellinini´s shadow was full up with colors.
GITTE KATH DENMARK
The use of the characteristic typography from the film 8½ incorporates the numerals of Fellini’s centennial anniversary.
DALIDA KARIC-HADZIAHMETOVIC B&H
The word FELLINI is visualized by collaging photographs from diverse films.
DALIDA KARIC-HADZIAHMETOVIC B&H
Breath of memories...
ANJA KOCOVIC FRANCE
Having the Fellini legend embedded in my DNA, I tried to research the man behind the myth, discovering an equally impressive persona. Clearly, a case for monumentality where finding the appropriate F letterform provided the base for everything that followed. Merging machinery into heads is not news, but here, the fusion epitomized our wondering if it’s art that imitates life or is life imitating Fellini’s vision of the world around us?
VIKTOR KOEN GREECE
This poster is a celebratory visual statement about how we, Fellini’s fans, see him, or how Fellini sees us through his films.
CEDOMIR KOSTOVIC B&H/UNITED STATES
Sliced and juxtaposed fragments of number 8 (set in Braggadocio typeface) suggest love, fantasy and struggles of the main character in his efforts to sort many entanglements – both professional and romantic are featured in Fellini’s film 8½.
CEDOMIR KOSTOVIC B&H/UNITED STATES
When I was eighteen, I fell in love with Fellini’s unrealistic films, which are full of the artificial world of unlimited imagination.
PIOTR KUNCE POLAND
My homage to Fellini, the greatest filmmaker of all time.
PIOTR KUNCE POLAND
A metaphor, an interpretation of the filmmaker, by Fellini himself, who has lived between a hazy past and a lustful present. A head without a face, without identity, without “memory”; in the swing of transitory amnesia where he does not remember if he remembers.
PABLO KUNST ARGENTINA/MEXICO
To define Fellini in one picture is impossible. For me, the world of Fellini can be defined in a place and time, the postwar Italy. Movie after movie he created and developed his particular oniric universe. If asked to make a choice, I select one image of his phantasmagoric creatures, the image of a pulpous gorgeous over-breasted female with brilliant eyes and fascinating dangerous red lips. This kind of creature regularly appears briefly in his films... they symbolize for me the satanic attraction of the forbidden pleasure...
My poster is not an image out of Fellini’s movies, just an evocation between pleasure and vulgarity. Testimony and an homage to whom I believe to be one of the greatest Italian filmmakers.
ALAIN LA QUERNEC FRANCE
FELLINI'S CASANOVA was an aesthetic revelation when I discovered it at the age of 17. Fellini depicts Casanova as a cold and haughty seducer, incapable of loving, finding love only in the arms of a mechanical doll. This flighty seducer in European courts in 18th-century European courts gave Fellini the opportunity to display all of his art in a sumptuous and twilight film.
PHILIPPE LEDUC FRANCE
My tribute for Fellini’s 100th birthday is dedicated to his adorable film Roma. Fellini literally sucked his inspiration and creativity from this city like Romulus and Remus, the founders of Rome. Who, according to the legend, suckled their mother wolf. I remember when I first saw Roma in 1972, I was a young high school kid. Especially remarkable was the “religious fashion show” that had an amazing impact on me. More than 45 years later, the film influenced my traveling exhibition, THE LAST CHASSID OF RADOMSKO where I became a Rabbi wearing traditional religious fashion in all kinds of forms.
YOSSI LEMEL ISRAEL
Symbolism and surrealism are all part of the madness of Federico Fellini and in discovering messages within messages. In particular, the character of Saraghina featured in the film 8½, who embodies sexuality, sin, yet wrapped in so many mysteries that could or could not be real. Her femininity links to sexuality, which links to sin, which links to catholic damnation on the delicious road to hell. She is larger than life itself, which illustrates Fellini’s movie-making vision.
ANDREW LEWIS CANADA
A specially designed letter “F” in 3D: Federico, Fellini, Film Genius – The three trumpets on the fringes of the letter “F” mark him as a director, screenwriter, and artist (he drew every frame and costume for the actors). The photographic background with shadows in gray and the yellow object “F” represents the Mediterranean melancholy that Fellini plays with. The theme of his films is almost always love embedded in the shadowy part of the poster image.
BORIS LJUBICIC CROATIA
Federico - the magician of images, the poet, the narrator, the observer, the visionary. Fellini - the brilliant director. The neorealist.
A poster in memory of Federico Fellini: The art of gesture. The gesture of Art.
UWE LOESCH GERMANY
When I was sixteen, I saw LA STRADA, my first film by Fellini, that lightened passion and admiration for his films that stays with me all these years and will be there forever...
PEKKA LOIRI FINLAND
FEDERICO FELLINI, despite the indisputable seriousness of his representation of Italian society, remains for us strictly connected with the variety show, with the life of the circus. His films echo the blasts of trumpets and the drum roll of the circus. His grotesque and perfect characters are always theatrical figures.
His long parades of stock characters are a dramatic portrayal of important men of our history: often positive representatives but more often tragic ones, described by a giant artist, by a genius.
ITALO LUPI ITALY
PAOLO GUIDOTTI & ITALO LUPI ITALY
PAOLO GUIDOTTI & ITALO LUPI ITALY
Federico Fellini is magic in the eye of the cinephile. The magic reoccurs when one seeks to rediscover the passion, feeling, aesthetics, dialogue, and content in cinematography. His deep gaze has marked a before and after marks a narrative and aesthetic path. Fellini is ethereal and is not at the same time. How can someone permanently challenge us?
I celebrate 100 years of the life of who gave us the cinema that we all deserve to see.
SUSANA MACHICAO BOLIVIA
Have you ever seen any films of Federico Fellini’s? If you haven’t seen any, I suggest you watch one, and when you do, I suggest you watch another, and so on. Do you like (it)(them)? Do you love (it)(them)? What did you think when you saw (it)(them)? How did you feel when you saw (it)(them)? Do you think life is like Fellini’s movie? How are you? My favorite Federico Fellini movie is 8½. and I’ll tell you why: Asa-Nisi-Masa.
ALEJANDRO MAGALLANES MEXICO
A vision of FELLINI’S CASANOVA’s journey captures sexual abundance through the world of eccentric characters.
HOLGER MATTHIES GERMANY
In LA STRADA, Fellini gives us a film as life and art, a beautiful, heart-wrenching, and a mesmerizing journey of self-realization.
Zampanò, Fellini’s thuggish and abusive circus strongman whose sole act is to break chains wrapped around his chest, represents those egocentric people we encounter in ordinary life who inflict cruelties from a position of power and catch us in their existential traps.
CHAZ MAVIYANE DAVIES ZIMBABWE/UNITED STATES
I consider Federico Fellini a genius of the Italian movies. Italy becomes the country of LA DOLCE VITA thanks to his genial skill to evoke memories and forbidden desires. Everything in his movies is a dream, surrealism, and surprise.
He was a master of capturing the quality, defects, and overall fantasies of Italians, with a sense of humor, and sometimes with scenes where we can feel melancholy.
Fellini understood that who doesn’t have hope, can find happiness only in the dreams and in the fantasy that he can live in his movies. He said that the only real realist is the visionary.
ARMANDO MILANI ITALY
Fellini belonged and still belongs among the world's personalities associated with the identity of Italian film in the mid-20th century. The immense romance of the spectacular scenes and selected actors gave his films an individual uniqueness.
The movies are not only part of Italian culture, but they are still enriching worldwide culture. It is good that a project has been created that reminds us of his film identity and work. No words can describe what can be seen in the movies - theme, scenography, costumes, and fantastic acting anomalies. Everything is so thoughtful, emotional, and captivating. I used two capital letters to express Fellini's personality characterizing Federico Fellini and above letters the crown, which symbolizes the king. Fellini is the King of Movies...
KAREL MISEK CZECH REPUBLIC
“claudia, marcello, federico, amarcord, asa, nisi, masa, otto e mezzo, e voglio la donna, giulietta, mastroiani, guido, nino rota, gradisca, massina, roma, inspirazione”
PIOTR MLODOZENIEC POLAND
AND THE SHIP GOES by Federico Fellini
I had the privilege of seeing the premiere in 1983 at the Cineteca Nacional. Whenever there is talk of any surreal phenomenon in our country (México), we say that it is something very fellinesco. What surprised us about this movie was the ending where the film showed the set in which it was filmed. My poster talks about joy and tragedy through music.
GERMAN MONTALVO MEXICO
This design is a nod to Fellini’s masterful play with black-and-white film, dramatic compositions, and lyrical emotion. The poster features the word Fellini in Arabic, with the last letter unfolding as a ribbon between abstract Arabic vocalization marks.
WAEL MORCOS LEBANON
One of the most famous Fellini’s film, 8½ was the inspiration for the message about Fellini 100/infinity.
RANKO NOVAK CROATIA/SLOVENIA
For me, Fellini is a visionary of world cinema. He amused, mocked, touched, and warned. He did not despise anyone. Most importantly, his elan vital put him as a commentator who sees everything while being above everything. Hence this association – someone hovering above the ordinary world, yet trapped in the need to reflect it and create a personal vision of it.
JAN NUCKOWSKI POLAND
JULIET OF THE SPIRITS, a movie with a special atmosphere. Seemingly trivial, yet oneiric, without any particular meaning, yet penetratingly depicting the female soul. Inconspicuous, yet masterful Giulietta. The master duo of Giulietta Masina and Federico Fellini. Tribute to ...
JAN NUCKOWSKI POLAND
Italian Federico Felini. Lord of movies. Born with an enviable pair of sharp and divine eyes, focusing on beautiful pictures, intrusive and erotic depth, and its impact on the viewer. Elegant, sophisticated, and precise image crop. Wherever Felini is now, he is probably working on a movie – and on a poster, I think.
FINN NYGAARD DENMARK
It so happened that in 1983 I was in Rome at the gala premiere of the film LA NAVE VA I even saw the master from a distance. Is it any wonder that this is my favorite Fellini movie? Or almost a favorite. But rhinoceros is definitely my favorite animal. True, it’s more because of Dürer. Did you know that Dürer’s rhino drowned? I also made this poster in his memory.
ISTVAN OROSZ HUNGARY
I don’t dare write anything about AMARCORD because if I started explaining it, I might wake up. I don’t want to wake up.
ISTVAN OROSZ HUNGARY
I imagine Fellini’s ROMA is mine too. And my one is his one. The inside and outside are mixed. It is a matter of point of view. And it’s a matter of perspective.
ISTVAN OROSZ HUNGARY
The poster is based on Fellini’s vision for life. Therefore, a set of “special colored lenses” is the central image. Surrounding him and helping to keep his creative imagination different. Supported with his photo, which looks at us to give attention to flight.
ANTONIO PEREZ NIKO CUBA/MEXICO
In the spotlight Federico Fellini combined in his films reality, dreams, and fantasy. In my poster, a spotlight splits the red color surface. The capital letters are like Roman columns, milestones from the career of the film director.
KARI PIIPPO FINLAND
LA STRADA is one of my favorite Fellini films. It also had an impact on Bob Dylan, who credits it as being the primary influence for his song “Mr. Tambourine Man.” For my La Strada poster, I wanted to focus on iconic visual elements from the film. The tire symbolizes the ramshackle caravan that was the home and vehicle of Zampano, the brutal strongman performer. The round clown face with red lips and nose are those of Gelsomina, the slow-witted young woman that Zampano was so cruel to. The gray background symbolizes “The Road”…
WOODY PIRTLE UNITED STATES
This poster is inspired by the old clapperboard used to make syncing audio and film easier and to identify takes and scenes.
WLADYSLAW PLUTA POLAND
Director’s chair designed from the letters of Fellini’s name, its constellation shines forever there, among the constellations of Aquarius, Canis Maior, Hydra, Orion, Ursa Maior and other celebrities.
PETER POCS HUNGARY
Motto: Circus all over the world and everyone in it is a clown. (Federico Fellini)
PÉTER PÓCS HUNGARY
Motto: Desire gives birth to desire. Show off your attraction, and you will be much more attractive. (Giacomo Casanova)
PÉTER PÓCS HUNGARY
My favorite Fellini character, Gelsomina, the one with the most eloquent eyes in the movie industry. Witty, caring, and despite her environment, always happy.
CELESTE PRIETO PARAGUAY
This is an abstract portrait of the main character in the film 8½. A bewildered, deformed face that’s struggling with human desire and creativity.
QIAN QIAN UNITED STATES
Series of five posters are designed by letters from our collection of old specimens, which are very expressive in their appearance with a lot off printing defects. With thoughtful manipulation of their forms, distortions, and playful staggering we are suggesting a many characters that are bring to life in the Fellini’s films.
LIZA RAMALHO & ARTUR REBELO PORTUGAL
LIZA RAMALHO & ARTUR REBELO PORTUGAL
LIZA RAMALHO & ARTUR REBELO PORTUGAL
LIZA RAMALHO & ARTUR REBELO PORTUGAL
LIZA RAMALHO & ARTUR REBELO PORTUGAL
LA STRADA. Fellini’s declaration of love for his wife Giulietta Masina is included in this film. LA STRADA also describes all situations precisely like a documentary; moreover, the film narrative is so colorful, although it’s a black and white movie.
GUNTER RAMBOW GERMANY
I have to admit that I was pretty sure that I wouldn’t be able to find a single symbol to synthesize his oeuvre but his famed character. But then, Fito Paez’d mentioned this scene to me during one of our late night quarantine calls came to my mind. Fellini’s both dramatic and hilarious vision of life coexists on that LA DOLCE VITA's flying Jesus scene. I wonder how Federico would feel about this heresy?
MAXIMO ROMPO ARGENTINA
Let's celebrate...!
IWONA RYPESC-KOSTOVIC POLAND/UNITED STATES
I pay tribute to the strength of love, love capable of creating noble art. Fellini said: “Our first meeting I do not remember because, in reality, I was born the day I saw Giulietta for the first time.” He found in her his artistic equal. Her small figure and great performance make her interpret naive characters. Giulietta Masina is often called “the female Chaplin.”
I also pay tribute to this beautiful black and white still. (unknown author)
MARIA MERCEDES SALGADO ECUADOR
Fellini – citizen of the world
MEHDI SAEEDI IRAN/UNITED STATES
Fellini’s films deal with the relationships between people on the road of life, at times confusing and unclear, at times dependent on the deep-rooted symbolism within the human soul. Fellini stated: “Put yourself into life and never lose your openness, your childish enthusiasm throughout the journey that is life, and things will come your way.”
The poster celebrates Fellini’s use of the camera as an instrument to disclose those human interactions, but always with an unexpected shift in the narrative that reveals something very personal about all of us.
NANCY SKOLOS & TOM WEDELL UNITED STATES
This poster celebrates Fellini’s imaginative vision through typography and optics.
“You have to live spherically–in many directions.”
― Federico Fellini
NANCY SKOLOS & TOM WEDELL UNITED STATES
“I was 13 years-old when I saw AMARCORD. I was very shocked, in a positive way at that age, from that movie. The scene of the “tabaccaia” also impressed me. She was motherly and erotica at the same time. About 20 years later, I moved to Rimini, where I live now, and I discovered a city very generous like a mother and very exciting like a lover.”
LEONARDO SONNOLI ITALY
“Cinema is like a circus ... I would have liked very much to be the director of a great circus because it is exactly a mixture of technique, precision, and improvisation ... cinema is exactly the same as a circus.”
― Federico Fellini
ELMER SOSA MEXICO
“Fellini’s body of work could be disassembled into the frequent appearance of bodily units – an orchestra of gestures.
The role a hand and a mouth plays in his films is as key an element as his usage of body language as a filmmaker. Which, in his words, is all about persuasion and staging the symbols across physical space, such as the letters spreading out on the 70x100cm surface area of a poster.”
SARP SOZDINLER TURKEY
The poster plays on the idea that life portrayed in Fellini’s world is a glamorous circus, expanding from irony to passion, from serious smile to funny tears, leaving us puzzled and charmed at the same time.
SLAVIMIR STOJANOVIC SERBIA
The clowns are us. We are clowns. Fellini becomes a clown and shows us what our life is.
SHINO SUEFUSA JAPAN
Our concept is literally a “playing with words and letters.” I enjoyed using the dots from the “I”s of the Fellini name, as the zeros of his hundred anniversary. That’s it, simple as breathing - and swimming (for some).
FELIPE TABORDA & AUGUSTO ERTHAL BRAZIL
Poster dedicated to Federico Fellini, the renowned film director, along with one of my favorite actors, Marcello Mastroianni. This architecture-based poster, inspired by a special scene of the film LA DOLCE VITA, tries to present the discovery of different layers of the script that Fellini portrayed in this incredible movie, as well as his deep insight in movie making.
PARISA TASHAKORI IRAN
The photo, taken in 1974, shows Federico Fellini and Oliviero Toscani.
OLIVIERO TOSCANI ITALY
In 1972, when I was working in Paris, there was a Fellini weekend in Columbus, a city near the capitol. I saw almost all of Fellini’s films then. After each film, there was a serious discussion. They had a chief cameraman as a guest. I will always remember this great experience. The colors in Fellini’s films always touched me deeply. He controlled the colors like a painter. My poster is influenced greatly by Fellini’s colors.
NIKLAUS TROXLER SWITZERLAND
Federico Fellini is synonymous with emotions, controversies, and contrasts - as a person as much as through his movies. Those contrasts are captured through various opposites in the poster: black and white colors, positive and negative space, classic and modern type, elegant and bold forms, left and right slide, linear and circular movement. As a metaphor for his role as a film director, the zeros in 100 (years) are reminiscent of blinking lights on a movie set.
SASHA VIDAKOVIC B&H/UNITED KINGDOM
I was inspired by a photo of Federico Fellini in which he is looking at us from under a brim of a black fedora.
MIECZYSLAW WASILEWSKI POLAND
“Hell is other people,” said Jean-Paul Sartre. In Federico Fellini’s 8½, Guido Anselmi suffers from a creative block which is believed to be caused by other people. Actually, the only one who can block him is no others but himself.
XIAO YONG & WANG XIAOFENG CHINA
LA DOLCE VITA is a bittersweet film about looking for happiness in a hedonistic way. Marcello, the main character, lives a crazy life, full of parties, and sexual adventures. However, his life doesn’t seem happy. The poster shows a dessert (made of white chocolate) in the shape of feminine breast - but it’s as empty as Marcello’s life.
KATARZYNA ZAPART POLAND
A poster celebrating the dual nature of Fellini; the Italian historian and the grand clown. By putting makeup on the symbol of Rome, the eternal city, I am celebrating the duality of the great filmmaker.
DANIEL ZENDER UNITED STATES
Fellini had several fascinations in his life – he has transferred them to his strongly autobiographical films. One of them was the circus, with whom he escaped as a twelve-year-old. For Fellini, the circus is a metaphor of our lives that we often live under masks that hide our real faces. The circular openings in the darkness of space remind us that the movie theater allows us to peer into someone’s life, into a cage with an apple that we can’t reach (Io voglio una donna), a clown’s face and body fragments.
AMRA ZULFIKARPASIC B&H
Dancers hide behind their makeup, dance in the ecstasy of romantic Mediterranean ambiance. They are dancing on a field of red poppies, symbolizing the war tragedy in the time of Fascism in Italy, and the blood of those who fell in that fight. A new life emerges in this field of poppies, a result of the passion that Fellini recognized in life surrounding him.
AMRA ZULFIKARPASIC B&H
It all starts with a kiss on a train, the impulse for a man’s carnal betrayal of the woman when she leaves the train. While following her across the field, a series of surreal events continuously develop into a maze of different settings in which women are protagonists. At the end, the man learns a lesson about himself and women.
