Federico Fellini's LSD Journey: How It Inspired Some Of The Greatest Films Of All Time

A newly published analysis of Federico Fellini's films explores how LSD therapy would have fueled the famed Italian filmmaker’s creative process regarding time, space, body and perception of the self.

See Also: Dua Lipa Interviews 'Queen Of Psychedelics' Amanda Feilding On Her 6-Decade Exploration Of Psychoactive Drugs

Fellini, noted Simon Doherty for The Face “arguably produced some of the most important features of the century and influenced many future directors in the process,” used LSD when it was still legal within a controlled environment.

The psychedelic session took place back in the summer of 1964, under the guidance of his psychoanalyst Dr. Emilio Servadio, during a phase of personal and creative crisis for the film director following "8 ½" and before "Juliet of the Spirits." 

The administered LSD dose provoked such an intense trip that Fellini needed sedative medication to come down from it. The talk therapy session that took place afterward was recorded with a magnetophone. 

Those tapes were never found, but in a 1965 BBC interview, Fellini explained how the experience stimulated his creativity by altering his perception of color.

Although Fellini said LSD “was a bit of a disappointing experience” he claimed he experienced a unique sensation.

“He said that an artist lives always in the imagination so the barrier between sensorial reality and his imagination is very vague…,” Fellini stated. “I saw colors not like they normally are – we see colors in the objects, you know; we see objects that are colored. I saw colors detached from the objects. I had for the first time the feeling of the presence of the colors in a detached way.” 

See Also: Diplo's LSD-Fueled Marathon Run Sheds Light On Psychedelics Use In Athletic Performance

As for the perception of time, study authors note that Fellini's films post-LSD therapy incorporated plots with ​“puzzling and disorienting flashbacks.” Fellini would have had epiphanies during the trip involving space and perception of self. ​

“The world depicted in his post-LSD movies includes major changes in the perception of space, time and others,” the article resumes.

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Photo by キネマ旬報社 - 『キネマ旬報』1966年2月決算特別号 on Wikimedia Commons

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