Wandering in a privileged enclave of Rome, the handsome Marcello, a gossip-journalist encounters elegant aristocratic women; starving artists; the vulgar neo-rich; glamour girls and “magicians” of the earthly night. He discovers that beneath the skin, of their deceptive grace; lurks hollowness, despair and loneliness—all that forces a friend of his, a tour de force of uncompromising intellect, into tragic demise. With admirable rigour in its structure, this modern psychological portrait of an entire city, defines the culmination of the Felliniesque baroque; as a libertarian directorial adventure from Neorealism to Neoexpressionism. It has indelibly left its mark in our modern world and its cultural heritage; not only with its title or the term “Paparazzi” but also with it’s episodic “anthology scenes”. Such as the one, where Anita Ekberg is bathed at the Fontana di Trevi—an iconic depiction of desire reaching its boiling point—filmed at a night so cold, where Mastroianni had to down a bottle of vodka to stay in character.