Pier Paolo Pasolini perpetually rebelled against moral hegemony, commiserating with outcasts and creating and dying as one.
Teorema is a film that’s short on incident but not at all lightweight or unserious.
The 1967 omnibus film The Witches still manages to cast a spell at times, owing to the contributions of its talented cast and crew.
Abel Ferrara’s wholly unconventional biopic manages to stick in the brain like few I’ve seen so far.
Highlights of this year’s FIDMarseille included works that traveled beyond the European continent in search of lost (and unknown) connections.
It’s the warping, re-signifying logic of affect and memory that architected this list.
A bracing cinematic buzzkill, Salò will wipe that shit-eating grin right off your face.
As the titular, tragic prostitute, Anna Magnani executed one of the great roles of her career in Mamma Roma.
Pier Paolo Pasolini’s boudoirs of perversion lack the Marquis de Sade’s scarlet hedonism.
For its reissue, Criterion has ironed out a bunch of the kinks, though I still detect some edge enhancement in the film’s endless series of long shots.
Pier Paolo Pasolini’s Teorema is basically a film about Terence Stamp’s crotch.
A must-see for fans of Terence Stamp and his magical British package. Others beware.