In this monumental landmark of Italian cinema, Mastroianni plays a hotshot filmmaker struggling to get his latest passion project off the ground, while simultaneously juggling relationships with the various women in his life.

Visconti brilliantly translates Albert Camus’s landmark work of existential humanism to the screen in this shattering adaptation.

What if you lust after your pure yet sexy cousin (Stefania Sandrelli), but are thwarted by a mustachioed spouse (Daniela Rocca)? If you’re a Sicilian aristo, the epitome of masculinity (Mastroianni), you arrange events so you can play the murderously jealous husband.

Marcello Mastroianni is an aging political revolutionary questioning his commitment to the cause of liberating the Kingdom of the Two Sicilies in this hallucinatory, 19th-century-set period oddity, which features an inspired Ennio Morricone score.

Mastroianni sheds all traces of movie-star glamour in this haunting road movie about a stone-faced Greek beekeeper embroiled in a self-destructive relationship with an erratic young drifter.

Mastroianni daringly subverts his suave, Euro-lover image in this caustic, black-comic critique of church, state, and masculinity, pitched somewhere between satire and Sirkian melodrama.

Mastroianni is one among a ragtag group of robbers who prove better at cracking wise than at cracking safes in this raucously entertaining caper comedy.

This molto groovy, swinging ‘60s sex comedy stars Mastroianni as an inveterate seducer of women with a kinky hang-up: he can’t get it on without an element of danger.

Fellini’s career-long fascination with women receives one of its most thorough and unbridled treatments in this kaleidoscopic fantasia, which stars Mastroianni as the director’s alter ego on a journey through a female-ruled parallel reality.

Multiple short stories by Chekhov provide the inspiration for this opulent, ironic romance graced with a quintessential, Oscar-nominated Mastroianni performance—by turns elegant, impish, and melancholy.

Fellini’s intoxicating portrayal of decadence in postwar Rome is at once a lavishly picaresque romp and a jarringly wistful fable. Mastroianni is nothing short of iconic in the role of tabloid journalist Marcello Rubini, who, in the narrative span of a week, heeds the paired siren calls of professional ambition and personal indulgence.

Mastroianni brings a brooding intensity to this psychologically charged modernist melodrama—“the classiest ‘male weepie’ ever filmed” (Elliott Stein).

This wild satire of televisual inanity casts Mastroianni and Giulietta Masina as former dance partners who reunite for an elaborate TV special—a grandly oddball extravaganza that only Fellini could dream up.

Four tired-of-life middle-aged men convene for a gut-busting, nihilistic orgy of food and sex in the most outrageous act of gastronomic grotesquerie ever perpetrated on screen.

Luigi Pirandello’s masterful hall-of-mirrors tragicomedy receives a shrewd screen adaptation starring Mastroianni as a 20th-century aristocrat living under the delusion that he is the titular Holy Roman Emperor.

A trio of iconic European actresses—Simone Signoret, Emmanuelle Riva, and Sandra Milo—play opposite Mastroianni in this potent, proto-feminist portrait of prostitutes fighting to beat the odds in a patriarchal society.

Loren sizzles in an Oscar-nominated performance with Mastroianni in which their chemistry propels a 22-year relationship that begins as a near-flawless boudoir comedy, only to develop into something disarmingly moving.

Mastroianni radiates brooding energy as Giovanni Pontano, a successful novelist who, along with his wife (Jeanne Moreau), spends a night drifting through the unsettlingly superficial social settings of 1960s Milan. Shot in lusciously textured black-and-white, the film offers a melancholic, unblinking portrait of a time and a place, a social class, and a marriage.

A bearded and bespectacled Marcello Mastroianni gives one of his finest, most sincere performances in this rousing, up-with-the-people paean to resistance about a tense textile factory strike in turn-of-the-century Turin.

One of Robert Altman’s most underrated films is Nashville for the ’90s: a deliciously catty, star-studded satire set amidst the hubbub of Paris Fashion Week.

Mastroianni is the titular medical oddity and Catherine Deneuve is his gobsmacked wife in Jacques Demy’s charming, slyly subversive interrogation of male-female social roles.

She’s a conservative Mussolini supporter; he’s a homosexual enemy of the state. But after a chance meeting, the two share a life-changing day in 1938 that will challenge their assumptions about people, politics, and sexuality. Marcello Mastroianni and Sophia Loren deliver virtuoso performances.

Mastroianni and Sophia Loren are lovers swept up in the tide of history in Vittorio De Sica’s sublimely stirring World War II saga.

Mastroianni is none other than legendary lover Casanova—one among a band of famous travelers caught up in the tumult of the French Revolution—in this witty, colorful work of speculative history.

In this idiosyncratic puzzle film, Mastroianni gave his penultimate performance as three different characters: a married man who abandons his wife, a lecturer at the Sorbonne who becomes a beggar, and a mysterious butler. Or are they all the same man? New restoration!

Mastroianni is the creepy Catholic priest presiding over a surreally sinister religious ceremony in this byzantine satire of spiritual and political corruption.

Mastroianni and Loren light up this breezy comic triptych of tales about love, sex, and class. Vittorio De Sica’s Oscar-winning charmer deftly combines naughty bedroom comedy with neorealist social commentary.

Marcello Mastroianni is a lonely flâneur who meets and falls in love with fragile Maria Schell amidst the fog-shrouded night world of the Tuscan canal city of Livorno in Visconti’s ravishing adaptation of a classic short story by Dostoevsky.