Synopsis
A businessman finds himself trapped at a hotel and threatened by women en masse.
City of Women
Cast
Marcello Mastroianni Anna Prucnal Bernice Stegers Donatella Damiani Jole Silvani Ettore Manni Fiammetta Baralla Hélène Calzarelli Catherine Carrel Marcella Di Falco Silvana Fusacchia Gabriella Giorgelli Dominique Labourier Stéphanie Loïk Sylvie Matton Maïté Nahyr Sibilla Sedat Alessandra Panelli Loredana Solfizi Rosaria Tafuri Carla Terlizzi Katren Gebelein Nadia Vasil Fiorella Molinari Sylvie Wacrenier Jill Lucas Vivian Lucas Penny Brown Gabriella Di Luzio Show All…
Director
Producers
Writers
Story
Casting
Editor
Cinematography
Assistant Directors
Camera Operator
Production Design
Set Decoration
Visual Effects
Composer
Sound
Costume Design
Makeup
Hairstyling
Studios
Countries
Language
Alternative Titles
城市女郎, Vrouwenstad, Die Stadt der Frauen, The City Of Women, Fellinis Stadt der Frauen, Kadınlar Kenti, La Cité des femmes, 女人城, La ciudad de las mujeres, A nők városa, Город женщин, Město žen, 女の都, Orașul femeilor, Градът на жените, Kvinnostaden, A Cidade das Mulheres, Місто жінок, Cidade das Mulheres, 여인의 도시, ქალების ქალაქი, Η Πόλη των Γυναικών, Naisten kaupunki, עיר הנשים, Miasto kobiet, Kvindebyen
Genres
Themes
Releases by Date
Premiere
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France
Cannes Film Festival
02 Apr 1990
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USSR
Italian Film Festival "City of Rimini and Cinema" (Moscow)
Theatrical
28 Mar 1980
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Italy
05 May 1980
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FranceTP
02 Oct 1980
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Netherlands16
24 Oct 1980
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Germany18
23 Jan 1981
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Spain
08 Apr 1981
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USAR
23 Apr 1981
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UK
Physical
01 Jan 1993
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Czechia
12 May 2010
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Netherlands16
Releases by Country
Czechia
01 Jan 1993
- Physical
France
05 May 1980
- TheatricalTP
19 May 1980
- Premiere Cannes Film Festival
Germany
24 Oct 1980
- Theatrical18
Italy
28 Mar 1980
- Theatrical
Netherlands
02 Oct 1980
- Theatrical16
12 May 2010
- Physical16 DVD
Spain
23 Jan 1981
- Theatrical Madrid
UK
23 Apr 1981
- Theatrical
USA
08 Apr 1981
- TheatricalR
USSR
02 Apr 1990
- Premiere Italian Film Festival "City of Rimini and Cinema" (Moscow)
Popular reviews
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How does it feel to be the object of the female gaze, Mastroianni? The same question could be asked of Fellini, a director who was always accustomed to smother his male characters with beautiful, voluptuous women. From LA DOLCE VITA (1960) to 8½ (1963), from JULIET OF THE SPIRITS (1965) to FELLINI'S CASANOVA (1976), women have always been portrayed as seductive mysteries onto which debonair men have projected their dreams and fantasies. These films are strongly autobiographical in nature, almost behaving like extensions of how Fellini feels about himself. The sheen of cool that once defined his male characters, like Marcello, Guido, and Giogio—each, you'll recall, presented as if they could tantalize and possess any woman they desired —feels faded and…
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"What kind of film is this?"
Jesuschrist, what an astoundingly immense, all-encompasing, magnificent and otherworldly stupefying film! Absolutely relentless, mad, in love with poetry and language, and having an unequaled feminist power in the entire history of Italian cinema.
Mastroianni reflects, once again, the auteur's alter-ego with a modern Casanova character named Snàporaz, who is virtually Guido Anselmi's character sequel under the hypothetical construction that the man is still being haunted by the same memories and fantasies, but under a pervasive sexual decay and in an era where gender empowerment has reached an unprecedented state of social equality through a passionate, multigenerational struggle. The film makes a perfect balance between being a representation of the consciousness of men in all…
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"The woman of your dreams weaves your destiny."
Touring the libidinous subconscious of graying libertine Snàporaz (Marcello Mastroianni seemingly reprising Guido's alter ego from 8½), Federico Fellini's City of Women (La città delle donne) takes the form of a carnivalesque nightmare/self parody. An admitted sufferer of culità (an Italian neologism that Fellini scholar Frank Burke translates as "assophilia"), Snàporaz impulsively departs a passenger train in pursuit of casual sex with a voluptuous stranger, only to find himself inescapably enmeshed in the unfriendly confines of a tempestuous women's conference. Turnabout follows in a kaleidoscopic array of hostile encounters wherein Snàporaz undergoes various ritual humiliations—from garden variety emasculation to sexual assault to violent assault.
For his part, Fellini was at least self-aware…
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Fellini is still very new to me, like for example I haven't gotten to arguably his most famous movies (La Dolce Vita, 8 1/2) yet but I've really liked the now four movies I have seen from him so far. Fellini has this fascinating tendency to be, for lack of a better term, a horny ghoul, but to also be very interested in female characters as people and very empathetic toward women in his movies. There's plenty of male gaze but I don't think there's really all that much objectification since Fellini is interested in the humanity of the women he is sexualizing. I think that is one reason City of Women is so wonderful: while this movie could have…
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“What kind of film is this?”
Have you ever had a friend go into great detail about a dream they had and as they drone on and on you realize it makes no sense, but obviously means something important to them? Welcome to yet another Fellini dream.
I’m sure there’s a ton of symbolism here that I’m just too thick headed to get, but I’ll be damned if I know what the message is.
What I admire the most is the editing and transitions from one scenario to the next. This whole thing is a fluid journey and the technique that Fellini uses is something that abstract directors should really take note of.
As for the girl vs boy argument,…
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I love Fellini's honesty and his ability to both indulge and laugh at himself- it's rarer than you might think. There's so many indulgently sexist parts to this movie but it's just always balanced out by absurdity and self awareness. This movie is really a more over the top 8 1/2 but with the focus on loving every woman ever-a general appreciation for women in all shapes, ages, and sizes. Sure, all told through the lens of the old 60s male gaze, but st least it never pretends to be anything but.
Fellini really makes movies the way I dream, I can't get enough of it. -
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After a decade and a half of strident feminist activism, how does one of the greats of 20th century modernist cinema, Federico Fellini, kick start the 80s? With a film about how horrible the whole experience has been for men, of course.
Having succumbed to the siren call of a beautiful woman on a train, Snàporaz, finds himself pulled inexorably along on an Odyssey that will take him through the bivouacs on either side of the front line of the gender wars.
First up we see him being jostled amongst an agitated encampment of boisterous women. It is like a fairground inhabited by some kind of carnivalesque topiary of feminist tropes. Domestic chores are lampooned, six husbands dance to the…
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8th Federico Fellini (after Amarcord, 8 1/2, La Dolce Vita, Juliet of the Spirits, The White Sheik, Ginger & Fred and ‘Toby Dammit’ in Spirits of the Dead)
Great Director Misfires- 23/27
Marcello’s Adventures in Womanland, a giddy trip through the male psyche from Europe's most ornery (or is that oneiric?) directors. Mastroianni stumbles through a series of dreamy situations, initially in pursuit of a curvaceous woman he makes lecherous advances towards on a train, constantly trying to get back to a station that increasingly grows further and further away. Yet, surprisingly, the various women who complicate his journey, including a group of radical feminists who wish to abolish blowjobs, aren't the object of Fellini's scorn that television often is. There's…
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Federico Fellini's work often reflected his tendency to remain locked in his own head. As fractures appeared and a need to release that pent-up hedonism arose, the resulting spillage would compose some of the most iconic European cinema of the mid-20th Century. By the 80's, Fellini not only began experimenting with coloured imagery, but his self-reflections began to take on more surreal forms than ever before. Gone are the black-and-white, photographic representations of metropolitan Italian cityscapes. Gone are the wistful instrumental adornments of Nino Rota. What we get in City of Women is a visualization of the deepest recesses of its auteur's troubled mind, represented in colourful vastness with a healthy order of Italo disco for good measure.
Fellini's self-insertion…
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