When La dolce vita first came out, I felt that it was the most visually stunning and provocative film I had ever seen. It remains a jaw-dropping high-wire act, constantly stunning us with its energy, its imagination, its movement, its surprises—in both story and imagery—its wit, the brilliance of its camerawork, costumes, and music, with an endless parade of memorable characters. It’s so rich and entertaining and exciting in its execution that we almost completely forget how terribly sad is the plight of its lead character. And if anyone cares to look, it is the Gospel according to Matthew turned upside down.