Rome, 1957. A woman, Cabiria, is robbed and left to drown by her boyfriend, Giorgio. Rescued, she resumes her life and tries her best to find happiness in a cynical world. Even when she thinks her struggles are over and she has found happiness and contentment, things may not be what they seem.
Giulietta Masina François Périer Franca Marzi Amedeo Nazzari Aldo Silvani Dorian Gray Ennio Girolami Mario Passante Franco Balducci Ciccio Barbi Luciano Bonanni Leo Catozzo Mimmo Poli Dominique Delouche Franco Fabrizi Sandro Moretti Polidor María Luisa Rolando Gianni Baghino Riccardo Fellini Nino Milano Sergio Parlato Christian Tassou Loretta Capitoli Edda Evangelista Ines Ferrari Lina Ferri
花街春梦, 卡比里亚之夜, Fellinis Die Nächte der Cabiria, 카비리아의 밤, Noites de Cabíria, Ночи Кабирии, Les Nuits de Cabiria, 卡比利亚之夜, Die Nächte der Cabiria, Las Noches De Cabiria, לילות כביריה, カビリアの夜, Cabiria'nın Geceleri, Cabiria éjszakái, Cabirian yöt, Нощите на Кабирия, Cabirias nätter, Ночі Кабірії, Noce Cabirii, Οι Νύχτες της Καμπίρια, Cabiriiny noci, 卡比莉亞之夜, კაბირიას ღამეები, Les nits de la Cabiria, Kabirijos naktys
Germany16
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Brazil16
SpainA
France
Netherlands6
Czechia
France
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Brazil
Czechia
France
Germany
Italy
Netherlands
Spain
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Part of the 30 countries festival. Italy
I want to capture my immediate reaction to this, my first Fellini film. I am far too emotional right now to settle down and reflect or read other reviews - I just want to write.
I cried. I can't say that it is the first time I've ever cried in a film, but it is the first time I have ever cried in what wasn't an overtly manipulative crying moment. It was the first time I cried because of a deep spiritual pain.
And I was giddy. At the 40 minute mark I took a break and I was all smiles, ear to ear, practically bouncing up the stairs and I couldn't wait…
If you don't feel any emotion during the ending of this film, you have no soul. Giulietta Masina seriously gives maybe the greatest performance ever given by an actress. Fucking beautiful cinema. Fellini, you're a genius.
A 2-hour long conversation with my heart, with my soul, my spirit, I don't know. There's no better way for me to describe Nights of Cabiria. Absolutely gut-wrenching, because it's exactly what anyone needs in life: the presence of heart to keep seeing beauty in things. Ma La Vita Continua...
I don't think this film would even have been possible were it not for Fellini's and Giulietta Masina's love for each other. A teacher in film school once taught me he made movies for her. I still didn't know what that meant when I watched Giulietta degli spiriti (I confess I don't have the same appreciation for Fellini's dreamy voyages) but Cabiria made that all-too clear. And it changed my…
If you think you have already seen perfect quality in character development, wait until you meet Cabiria. What Federico Fellini does in this film is phenomenal, the deepening of the human experience through the main character is divine, and with the mixture of vulnerability, strength and determination that she delivers, surely you will be captivated by such charisma.
The exploration of deep themes, such as resilience and hope, are points that, when explored, differentiate this film from any other. Fellini skillfully weaves together moments of joy, heartbreak and redemption, creating a narrative that is emotionally resonant and thought-provoking. The combination that was created by the evocative cinematography and the soundtrack, creates waves of feelings, diving deep into the world of…
What a striking film to watch at a time like this. Whether your world or *the* world is falling apart, you'll soon find a reason to smile again. Profoundly moved.
Part of Lise and Jonnie’s What A Wonderful World: May 30 days, 30 countries.
Film 17 – May 17 – Italy
I’ve always had a fear of Fellini. It’s not the surreal, I love the surreal. It’s not the clowns, I’ve never had a particular fear of clowns. Really. Honestly. Well, maybe just a bit. It’s not even the fear of Surreal Clowns .. Jeunet’s Delicatessen is one of my all time favourites. It has just been this stigma. How the adjective ‘Felinniesque’ has been bandied about. It’s how the film loving friends that I’ve grown up with have never said, ‘You’ve got to see this Fellini!’ . It hasn't helped that whenever I go to the Fellini IMDB profile,…
I am so struck by this, easily one of my new favorite endings if not one of my new favorite movies. Giulietta Masina is indescribable. The relentlessness and beauty of life and the persistence of the human spirit. Non mi manca niente!
Nights of Cabiria is a story which elicits sincere sympathy for its central character. It features a powerhouse central performance from Giulietta Masina as streetwalker Cabiria Ceccarelli, who fruitlessly wanders the streets looking for a romantic partner. Masina makes Ceccarelli into a unique character who is full of optimism, and cinematographer Aldo Tonti works mostly on the strength of her performance; frequently filming her in shadows with a faraway gaze in her eyes which conveys an effortless representation of humanity and warmth.
Masina’s extraordinary qualities operated the creative impulse for Federico Fellini to compose the film, and his direction constantly commiserates with her circumstances. Nevertheless, at no point does he enable her any time for self-pity, coupled with the character…
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One of my major Fellini blindspots crossed off the list. Giulietta Masina gives the performance of a lifetime in Nights of Cabiria, a film which feels like a tipping point between the realist fables of La Strada and the epic decadent tangents of La Dolce Vita, but is still nonetheless a deeply moving character journey. In following Cabiria through a period of self-discovery, Fellini emphasizes the limitations of women trying to get ahead, and the monstrosity of men that functions as a cyclical barrier towards an ultimate satisfaction or catharsis. We yearn for Cabiria to find her own way, but no matter what route she takes, there's a man waiting to de-stabilize and take advantage of her progress and humility. It leads to an astonishing ending, easily one of the best of the 1950s. Not to mention the distinct visual contrast of class, and the social gap that arrived with modernity. Fellini's opulence rarely was without merit.
