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Anyone who's familiar with cinema would have heard of the great Swedish cinematographer Sven Nykvist. A humanist toward actors and a friend to crew members it's obvious from his son Carl Nykvist's documentary Light Keeps Me Company, that Sven is a likeable guy.

Like most documentaries, Carl Nykvist's film is also chalked full of interviews of prominent actors, crew members, directors as well as, family members. While the interviews with such Swedish cinema luminaries as Igmar Bergman, Liv Ullman, Bibi Anderson and Harriett Andersson as well as, Americans Woody Allen and Gena Rowlands are entertaining, the dramatic arc of the documentary that touches upon crucial moments in the photographer's life proves more poignant.

However, the story of Siddartha that is narrated throughout the documentary tends to interrupt the flow of the dominant narrative. Yes, it's true that Nykvist's life parallels his favorite novel, but a little would go a long way here.

Light Keeps Me Company is a must see for cinema enthusiasts. It might even prove educational as well as entertaining for some viewers. Learn a little cinematic history and honor a great master of light.

Every film director should have the chance to indulge in their fantasies and films are fantasies projected on the big screen. However, Fellini's Roma is not a film for everyone and in order to enjoy this non-linear extravaganza, you must have a lot of patience and it doesn't hurt to be a fan of Fellini's work.

For those who do have patience, you can learn a little about Rome (although Fellini's Rome) and biographical information about the filmmaker. Although don't quote him, he does tend to reinvent his past from time to time. >

The Papacy fashion show shouldn't be missed nor should the scenes that portray Rome in the 1940's. But for those who lack the patience, but still like Fellini, check out Amarcord instead.

When most people think of Fellini, they think of his films La Strada or La Dolce Vita and 8 1/2, but the director's vast catalogue of films is worth checking out just to see a genius at work. Fellini's early and little known film, The White Sheik proves to be a cinematic gem that not only hints at the director Fellini would become, but also stands on its own as an achievement.

Part soap opera (read Mexican soaps) and part romantic comedy, The White Sheik leans towards surrealism and comic book camp (over 30 years before Kevin Smith created DOGMA). The premise of the story is that two newly weds, Vanda Giardino (Bruenella Boro) and her husband Ivan Cavelli (Leopoldo Trieste) honeymoon in Rome where Ivan hopes to make a good impression of his relations. Unfortunately for him, his wife sneaks out of the hotel room so that she can meet her comic book hero, The White Sheik (Alberto Sordi.

Shot in black and white, this film is gorgeous and surreal. The actors on the set of The White Sheik come across as gypsy or circus like. They sport tough attitudes and this makes a nice contrast to Vanda's wide-eyed innocence.

The White Sheik is technically Fellini's second film, but the first one in which he did not share directing credits. However, he did share writing credits with Michelangelo Antonioni, Ennio Flaiano and Tullio Pinelli. If you are a fan of La Strada and Nights of Cabiria then you must see this film.