An indie biopic of legendary filmmaker Federico Fellini is moving forward and writer/director Henry Bromell (Homeland) has assembled himself quite the cast.  Variety reports that Elite Squad star Wagner Moura will play the famed director in Fellini Black and White, while Peter Dinklage, William H. Macy, and Terrence Howard are set to co-star.  Instead of being your run of the mill all-encompassing biopic, the film centers on a specific period in Fellini’s life.  The story is set in Los Angeles in March of 1957, and takes place during the 48 hours that Fellini went missing right before attending the Academy Awards.  Hit the jump for more.

It’s obvious that Gary Ross (Seabiscuit) was the right man for the director’s chair as The Hunger Games is off to a roaring start at the box office. But what would the film have looked like if it were helmed by a different director? Michael Bay, Brett Ratner and Roger Corman would certainly have emphasized the sex appeal and violence. Garry Marshall and Nancy Meyers would probably focus on the romantic side.  How would Terrence Malick, Federico Fellini and Werner Herzog have approached the source material? What about Christopher Nolan or Woody Allen? Thanks to these alternate reality movie posters for The Hunger Games, we can get a glimpse of what might have been. Hit the jump to check them out.

Every now and then one watches a film that takes a couple days to absorb. I am not just talking about dissecting and understanding—often the better the movie, the more that is revealed by further thought—but literally the most basic of conclusions, sometimes even so simple as whether one likes it or not. Federico Fellini’s The Clowns was just such a movie for me. The Clowns is Fellini’s filmic exploration of his own—and humanity’s—fascination with clowns and the circus (for those not familiar with Fellini’s work, clowns and the circus play prominently across his oeuvre).  For my DVD review of the film, join me after the break.

The man-child is a staple of movies.  Mostly dim-witted, often simply endearingly immature, he is the go-to character when regular films want to explore untrammeled honesty in the face of a cynical world or when comedy films want to explore just plain silliness. Unfortunately, most of these efforts are maudlin at best, saccharine or asinine at worst.  So expanding the form to feature a woman-child is a risky proposition, and one that would likely be doomed to an even more sappy-headed failure once the suits and bean counters held sway over the rewrites.  Well, to those with the power to green-light projects, don’t stress.  The definitive woman-child movie has already been made. It was in Italy, it won the Academy Award for Best Foreign Film, and it was in 1957, long before Hollywood stopped making serious drama.