Instead of a conventional narrative, La Dolce Vita is comprised of a series of vignettes, following gossip journalist Marcello ( Marcello Mastroianni) as he navigates the peaks and troughs of his profession, from glamorous dinner parties to the more sordid, corrupting side of the job. There’s very little in the way of an overarching narrative here, and tonally Fellini jumps from irreverence to tragedy, from dream-like stylisation to neo-realism, in the blink of an eye and yet there are moments that feel deeply profound. Writing for Cahiers Du Cinema, Jacques Doniol-Valcroze wrote that Federico Fellini’s La Dolce Vita is “ a succession of cinematic moments” and it’s difficult to argue against this assessment.
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