October 20 ,1959. Giuseppe Amato, great producer of many masterpieces of the Italian neorealism is alone in a small screening room. In front of him the sequences of Federico Fellini’s “La Dolce Vita” that no other producer had accepted to produce . The director’s version is four hours long, Fellini doesn’t want to cut out any footage and Rizzoli is not willing to distribute it with his Cineriz. It is the most dramatic challenge Giuseppe Amato has ever faced, one that will cost him his career and his life.
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