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Pasolini is a 2014 English-language internationally co-produced drama film directed by Abel Ferrara and written by Maurizio Braucci about the final days of Italian film director Pier Paolo Pasolini (played by Willem Dafoe). It was selected to compete for the Golden Lion at the 71st Venice International Film Festival.
Pasolini refused to adopt one of the most conventional aspects of cinematography at that time, the Master shot. Pasolini never used a Master shot. The scenes are all constructed shot by shot. This guarantees there is no coming back to the story or the characters. It gives the film a free form aspect that anything can happen.
Salò, or the 120 Days of Sodom (Italian: Salò o le 120 giornate di Sodoma), billed on-screen as Pasolini's 120 Days of Sodom on English-language prints [3] and commonly referred to as simply Salò (Italian:), is a 1975 political art horror film directed and co-written by Pier Paolo Pasolini.
Medea is a 1969 Italian film written and directed by Pier Paolo Pasolini, based on the ancient myth of Medea.The film stars opera singer Maria Callas in her only film role and is largely a faithful portrayal of the myth of Jason and the Argonauts and the events of Euripides' play Medea.
La macchinazione (The Plot) is a 2016 Italian biographical drama film directed by David Grieco, starring Massimo Ranieri and based on the last hours of Pier Paolo Pasolini's life before his murder. [ 1 ] [ 2 ]
Pier Paolo Pasolini (Italian: [ˈpjɛr ˈpaːolo pazoˈliːni]; 5 March 1922 – 2 November 1975) was an Italian poet, film director, writer, actor and playwright.He is considered one of the defining public intellectuals in 20th-century Italian history, influential both as an artist and a political figure.
The film is a retelling of the last sections of Homer's Odyssey as adapted by Edward Bond, John Collee, and Pasolini. It premiered in the Gala section at the Toronto International Film Festival on September 7, 2024, and was theatrically released on December 6, 2024, in the United States by Bleecker Street .
Pasolini stated that he decided to "remake the Gospel by analogy" and the film's sparse dialogue all comes directly from the Bible. [8] Given Pasolini's well-known reputation as an atheist, a homosexual, and a Marxist, the reverential nature of the film came as a surprise, especially after the controversy of La ricotta. At a press conference in ...