Jessica Kiang An event like the Festival Lumière, with its wide remit that sees classic films and retrospectives rub shoulders with the very latest and chic-est new titles, is always going to boast a thicket of hidden connections and surprising collisions.
This year, for example, you could go from watching “8 ½,” Federico Fellini’s 1963 metafiction about his relationship with filmmaking, straight into “The Hand of God,” Paolo Sorrentino’s 2021 autofiction about his relationship with (among other things) Fellini.
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