The Sheik

Aug 23, 2004 — This drama about young dreamers is the first definitive plunge into many of Federico Fellini’s dominant thematic and imagistic preoccupations.

May 1, 2026 — A new month begins with a Visconti restoration, a new issue of Senses of Cinema, and a deep backgrounder on Backrooms.

Feb 12, 2018 — In “Twin Peaks: The Return, or What Isn’t Cinema?,” a four-part essay at Reverse Shot, Nick Pinkerton first stakes out a position. Referring to one of Marcel Duchamp’s most famous pieces, he writes: “For a hundred years now it’s been...

Feb 8, 2011 — Federico Fellini was born and brought up in Rimini, Italy, a small seaside town in the province of Emilia-Romagna. Amarcord is a neologism he contrived, which comes closest to the Emiliano-Romagnolo dialect phrase mi ricordo (I remember). Fellini, a great...

Mar 7, 1988 — A low-key mood study about a broken-down carnival strongman and his half-wit assistant traveling through the bleak backwaters of post-war Italy catapulted Federico Fellini to the front ranks of that country’s greatest filmmaking talents.

Nov 25, 2020 — “Yes, life is a dream, but sometimes that dream is a fatal abyss.” Wanda in The White Sheik (1952) I have a vivid memory from the first film-studies class I enrolled in, a class on Italian neorealism, where the weekly...

Dec 14, 2016 — Pseudodocumentary collides with pure fantasy in Federico Fellini’s intricately layered portrait of his adopted home.

Feb 2, 2010 — Dear Criterion collectors, Our three least favorite initials: OOP. Since we launched the Criterion Collection more than twenty-five years ago, we’ve endeavored to keep everything we’ve published in print. But despite our efforts to renew rights, we are losing a...

Sep 6, 1999 — The subject of loneliness and the observation of the isolated person has always interested me. Even as a child, I couldn’t help but notice those who didn’t fit in for one reason or another—myself included. In life, and for my...

Aug 3, 2020 — The first European box-office success of the movement dubbed the New German Cinema, Volker Schlöndorff and Margarethe von Trotta’s 1975 The Lost Honor of Katharina Blum took on a hot-button issue: the paranoia provoked by homegrown terrorism and the opportunity that...