Metacritic reviews

It's a relief that when Fellini decided to sum up his career, he still had enough left to do it so wittily, jauntily and with such expansiveness of spirit. Lovely stuff, just lovely. [19 Feb 1993, p.30]

While Intervista will appeal mostly to the dedicated cineaste who can appreciate its many inside jokes, Fellini displays such a ravishing range of technique and assurance that even more casual moviegoers must view this film with awe. [26 Mar 1993, p.J]

Here, Fellini effortlessly weaves together various registers, aesthetic and otherwise, continually undercutting whatever level of “reality” seems to be in front of the camera(s) at any given time.

Sublime moments encounter clunkiness and bad overdubbing until it’s hard to know what’s on purpose, but you certainly envy the Fellini family/crew their experiences in service of a man who so appreciated his life’s pursuit (or what he called ”this alibi”).

A magical mixture of recollection, parody, memoir, satire, self-examination and joyous fantasy.

INTERVISTA play as an enjoyable, lightweight entertainment, filled with the usual Felliniesque characters, faces, and situations.

In typical Fellini fashion, there is much frantic activity - no less than three films-within-the-film, several surrealist sequences that come out of nowhere, and many scenes that deliberately make reference to, and comment upon, the director's life and past films. [17 Jun 1993]

The mixture of nostalgia, surreal fantasy, self-parody and contemporary satire is seamlessly Fellini-esque. The style has become so recognizable that it's become difficult to separate Fellini from the national postwar cinema he helped create. [17 Jun 1993, p.E5]

Part Valentine, part memory lane, “Intervista” may not qualify as a great film, but it is the kind of film only a great filmmaker could create.

Intervista is not a very organized movie, and long stretches seem pointless and uninspired. It would not be of much interest, I imagine, to anyone who was not familiar with Fellini's earlier films.