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Since the birth of the film industry, characters and environments from Dante’s Inferno have frequently been brought to the screen, but from the end of the Fifties they begin to be represented in less explicit ways. These films have been considerably less studied than the adaptations of the first half of the century, although they are just as interesting. This essay aims to trace some references contained in two visionary films from the Sixties that are not explicit adaptations of the first canticle: Kenneth Anger’s Inauguration of the Pleasure Dome and Federico Fellini’s Satyricon.