"There is no end. There is no beginning. There is only the infinite passion of life."
Instantly recognisable, Fellini's bubbling, ebullient depictions of Italian life take in low and high culture, the downtrodden and the bourgeoise, the mundane and the strange, love, sex and death. His films are animated with a joy and vigour that is entirely his own, however much his style has passed into popular stylistic shorthand, from cinema to music video.
Richard Dyer sums it up eloquently in his introduction to the BFI's 2004 Fellini retrospective:
Felliniesque. Few filmmakers have had an adjective derived from their name and had it widely used. A world: clowns...beffudled husbands and long-suffering wives, feckless youths...prostitutes and gigolos, conmen, waifs, venial priests, angels and spirits, haute-couture and tacky music hall, Rome and out-of-season seaside resorts, all weird in themselves and even more so in Fellini's exuberant juxtaposition of them.
Fellini's films remind us that motion pictures move. That feeling for movement is at the heart of Fellini's vision: movement as exuberance, energy, vitality, but also as restlessness, chaos, deluge...There is social commentary and surrealism in Fellini, but supremely there is the understanding of movement as the essence of cinema and live.
Not sure sure where to start? Here's our rundown of ten of the best.