Italiani!

Augusto, Carlo, and Roberto are scam artists who often work together. Middle-age divorced Augusto is the oldest, most seasoned in the business, and the trio's spiritual leader. They either are immune to the notion that most of their victims are not wealthy--most uneducated, rural peasants--or don't care that they make at most a few hundred thousand lira at a time. Each of the three is at a different stage of life, which makes Carlo and Augusto examine what they're doing more critically, each stemming from a specific incident. Roberto, the youngest, still lives solely for the here-and-now and will take any money willingly. Carlo would like to make a living as an artist, hence his nickname of Picasso, if only it would support him, his loyal wife Iris, and their adolescent daughter Silvania. Carlo has told Iris that his frequent absences is in his work as a traveling salesman with Augusto, but she can no longer bury her head in the sand about what he's doing upon a last-minute social evening out with his associates on New Year's Eve. Augusto's examination of his life begins upon a chance encounter with his young-adult daughter Patrizia, whom he had not seen in years and didn't even recognize. Augusto is torn between what his money can afford in getting Patrizia on her feet as she contemplates extending her expensive education, versus being a role model to her.

Amelia and Pippo are reunited after several decades to perform their old music-hall act (imitating Fred Astaire and Ginger Rogers) on a TV variety show. It's both a touchingly nostalgic journey into the past, and a viciously satirical attack on television in general and Italian TV in particular, portraying it as a mindless freakshow aimed at morons

In 1959/1960 Rome, Marcello Rubini (Marcello Mastroianni) is a writer and journalist, the worst kind of journalist--a tabloid journalist. His job is to try to catch celebrities in compromising or embarrassing situations. He tends to get quite close to his subjects--especially when they're beautiful women. Two such subjects are local heiress Maddalena (Anouk Aimee), and Swedish superstar-actress Sylvia (Anita Ekberg), with both of whom he has affairs despite being engaged to Emma (Yvonne Furneaux), a clingy, insecure, nagging, melodramatic woman. Despite his extravagant, pleasure-filled lifestyle, he is wondering if maybe a simpler life wouldn't be better.

Fellini exposes his great attraction for the clowns and the world of the circus first recalling a childhood experience when the circus arrives nearby his home. Then he joins his crew and travel from Italy to Paris chasing the last greatest European clowns still live in these countries. He also meets Anita Ekberg trying to buy a panther in a circus.

The ascetic Simón believes he is a sinner and decides to self-inflict a sacrifice, living like a hermit on the top of a pedestal in the middle of the desert to be closer to God and resist the temptations of the world. His followers are peasants and travelers that believe that Simón is a saint capable of performing miracles and they crowd to hear his speeches. However, Satan tries to tempt him with the pleasures of the world.

Sad story of a waif, Gelsomina, who is sold by her mother to Zampano for 10,000 lire and a few kilos of food. Zampano is a traveling showman who exhibits feats of strength by breaking a chain wrapped around his chest. He performs in village squares and then passes the hat for whatever the normally small crowd is prepared to give. He teaches Gelsomina a drum roll as part of his introduction. He doesn't treat her well and when she tries to run away, he beats her. They eventually join a small traveling circus where they meet a tight-rope walker who convinces Gelsomina to question her choices.

In first-century Rome, two student friends, Encolpio and Ascilto, argue about ownership of the boy Gitone, divide their belongings, and split up. and split up. Allowed to choose who he goes with, the boy chooses Ascilto. Only a sudden earthquake saves Encolpio from suicide, and from there he has a series of adventures; eventually he reunites with Ascilto and they help a man kidnap a hermaphrodite demi-god from a temple. The god dies, and as punishment Encolpio becomes impotent and they search for a cure. The film is loosely based on the book Satyricon by Gaius Petronius Arbiter, the "Arbiter of Elegance" in the court of Nero. The book has only survived in fragments, and the film reflects this by being very fragmentary itself, even stopping in mid-sentence.

Four directors tell tales of Eros fit for a 1970 Decameron. Working-class lovers Renzo and Luciana marry but must hide it from her employer; plus, they need a room of their own. A billboard of Anita Ekberg provocatively selling milk gives a prudish crusader for public decency more than he can handle. The wife of a count whose escapades with call girls make the front page of the papers decides to work to prove her independence, but what is she qualified to do? A buxom carnival-booth manager who owes back taxes offers herself for one night in a lottery: a nerdy sacristan and a jealous cowboy make for a lovers' triangle. In each, women take charge, but not always happily.

A virtually plotless, gaudy, impressionistic portrait of Rome through the eyes of one of its most famous citizens, blending autobiography (a reconstruction of Fellini's own arrival in Rome during the Mussolini years; a trip to a brothel and a music-hall) with scenes from present-day Roman life (a massive traffic jam on the autostrada; a raucous journey through Rome after dark; following an archaeological team through the site of the Rome subways; an unforgettable ecclesiastical fashion show).

Marcello is in the compartment of an Italian train, facing forward, when the mineral water of the woman seated across from him starts falling toward him. He catches the bottle and makes eye contact, then follows her when she leaves the compartment. For a few moments she finds him attractive too. Then suddenly she gets off the train and starts walking through a field. Marcello follows her, loses her, and finds himself in a large hotel surrounded by women. A feminist conference is taking place and he tries to escape.

An old man and his son are walking along the road when they suddenly meet a speaking crow that represents Marxist beliefs. They are soon taken back 750 years in time, changed into monks, and sent by St. Francis to convert the hawks and the sparrows to Christianity.

Fausto Moretti seduces his friend Moraldo Rubini's sister Sandra and is forced to marry her After their honeymoon, he takes a job selling religious objects in a small shop. Marriage doesn't change him; he still goes with his friends to look for women. He even tries to seduce his boss' wife and gets fired. Sandra forgives everything he does. He and his friends of similar temperament are content to be idle, chase girls, and leave the job-hunting and work to others. After Fausto has spent one more night away from home with a girl, Sandra can no longer forgive and runs off with their child, and Fausto and his friends search all over for them, fearing the worst.

On a quest to retrieve the fabled Golden Fleece, Jason and the Argonauts arrive at a remote barbarian land where the natives worship the sacred artefact to protect the crops. But, unexpectedly, as Medea--a beautiful high priestess and the land's powerful sorceress--betrays her beliefs to follow Jason back to Greece, a cruel fate awaits her. As a result, deserted and banished by the king, it's only human that Medea plots her furious revenge. Can they escape her wrath?

Cinecitta, the huge movie studio outside Rome, is 50 years old, and as Fellini begins production on his latest film, a Japanese TV crew interviews him about the other films he has made their over the years. A young actor portrays Fellini arriving at Cinecitta the first time by trolley to interview a star. Marcello Mastroianni dressed as Mandrake the Magician floats by a window, and Fellini followed by TV crew takes him to Anita Ekberg's villa where the Trevi fountain scene from La Dolce Vita (1960) is shown on a sheet that appears and disappears as if by magic.

One year in a small northern Italian coastal town in the late 1930s is presented. The slightly off-kilter cast of characters are affected by time and location, the social mores dictated largely by Catholicism, and the national fervor surrounding Il Duce aka

An old woman finds a baby among the cabbages in her garden; she takes care of him and calls him Totò. When she dies, he is sent to an orphanage, which he leaves as a teenager. When Totò goes out in the world, he expects everyone to be open-hearted as himself, but they aren't. Without belongings or a place to live, he soon turns up among other homeless people, living scattered in boxes and cement pipes on a vast, barren field outside Milan. With his energy and enthusiasm, Totò quickly engages the outcasts in transforming the place into a small shanty town. The eccentric misfits are turned into a warm-hearted community. But when the wealthy Mr. Mobbi buys the land, he tries to get rid of them.

The amusing and entertaining adventures of a recently released mental patient and his band of misfits, discover conspiracies to concur while looking for love.

In a Medieval Roman chapel, now an oratorio, an elderly factotum sets up for rehearsal. The musicians arrive, joking and teasing. A union shop steward explains that a TV crew is there, talking to them is optional, and there will be no extra compensation. Musicians talk about their instruments. The German conductor arrives and puts them through their paces; he yells, he insults. The shop steward calls a 20-minute break. The conductor retreats to his dressing room and talks about how the world of music has changed, moving away from respect for the conductor. He returns to the rehearsal to find the orchestra in full revolt. What can bring them back to the music?