Abstract

This article conducts a comparative analysis of Paolo Sorrentino's "La grande bellezza" and several works by Federico Fellini, employing a methodological perspective that ranges from the psychoanalytic theory of Jacques Lacan to the Slavoj Žižek's critique of ideology, as well as the film theories that they have influenced. Through these tools, it attempts to identify how certain common themes and stylistic solutions chosen by the two authors contribute to portraying less a faithful image of Italian society than of its ideological fantasies.