Abstract/Sommario: The debut feature of Italian filmmaker-novelist-poet-provocateur Pier Paolo Pasolini (Salo, or the 120 Days of Sodom; The Gospel According to Matthew; The Decameron), Accattone rocked the cinema world with its depictions, at once raw and elegant, of the underside of Roman street life and, in the process, seemed to announce a new direction for Italian films: a neo-neorealism. On the mean streets of Rome, Accattone's eponymous pimp (played by Franco Citti, one of a remarkable cast of lo ...; [Leggi tutto...]
The debut feature of Italian filmmaker-novelist-poet-provocateur Pier Paolo Pasolini (Salo, or the 120 Days of Sodom; The Gospel According to Matthew; The Decameron), Accattone rocked the cinema world with its depictions, at once raw and elegant, of the underside of Roman street life and, in the process, seemed to announce a new direction for Italian films: a neo-neorealism. On the mean streets of Rome, Accattone's eponymous pimp (played by Franco Citti, one of a remarkable cast of local non-professionals) leads a hand-to-mouth existence on the very margins of society: prostituting, scrounging, exploiting. When his prize prostitute Maddalena is arrested and jailed, the pimp's fortunes dwindle, and he is forced to confront his own existence.
Abstract/Sommario: Il film esce nell'edizione restaurata dalla Cineteca di Bologna presso il laboratorio L'Immagine Ritrovata, grazie ai materiali messi a disposizione dal produttore Gian Vittorio Baldi. Dai negativi 16mm scena e colonna sono state stampate matrici di conservazione 35mm.
Dalla Tanzania all'Uganda, Pier Paolo Pasolini percorre l'Africa cercando i corpi e i luoghi per un film in forma di "film da farsi", liberamente ispirato alla trilogia dell'Orestiade di Eschilo. L'Africa, che negli a ...; [Leggi tutto...]
Il film esce nell'edizione restaurata dalla Cineteca di Bologna presso il laboratorio L'Immagine Ritrovata, grazie ai materiali messi a disposizione dal produttore Gian Vittorio Baldi. Dai negativi 16mm scena e colonna sono state stampate matrici di conservazione 35mm.
Dalla Tanzania all'Uganda, Pier Paolo Pasolini percorre l'Africa cercando i corpi e i luoghi per un film in forma di "film da farsi", liberamente ispirato alla trilogia dell'Orestiade di Eschilo. L'Africa, che negli anni Sessanta stava dolorosamente uscendo da secoli di colonialismo, è vista da Pasolini come lo spazio di un processo di metamorfosi dal mondo arcaico alla modernità, dove l'irrazionalità primigenia deve coesistere con il "nuovo mondo della ragione". È la voce dello stesso Pasolini a guidare lo spettatore in un itinerario filmico che assume una natura eterogenea e 'impura' di saggio per immagini, analisi antropologica e diario di viaggio, con squarci visionari e poetici. Le immagini girate dal poeta-regista sui "silenzi profondi e paurosi" dell'Africa si confrontano a violente sequenze documentarie sulla guerra del Biafra, a un esperimento musicale con Gato Barbieri "nello stile del jazz", a brani di rituali primitivi funebri o gioiosi.
Abstract/Sommario: Pier Paolo Pasolini traveled to Africa, Nepal, and the Middle East to realize this ambitious cinematic treatment of a selection of stories from the legendary The Thousand and One Nights. This is not the fairy-tale world of Scheherazade or Aladdin, though. Instead, the director focuses on the book’s more erotic tales, framed by the story of a young man’s quest to reconnect with his beloved slave girl. Full of lustrous sets and costumes and stunning location photography, Arabian Nights i ...; [Leggi tutto...]
Pier Paolo Pasolini traveled to Africa, Nepal, and the Middle East to realize this ambitious cinematic treatment of a selection of stories from the legendary The Thousand and One Nights. This is not the fairy-tale world of Scheherazade or Aladdin, though. Instead, the director focuses on the book’s more erotic tales, framed by the story of a young man’s quest to reconnect with his beloved slave girl. Full of lustrous sets and costumes and stunning location photography, Arabian Nights is a fierce and joyous exploration of human sexuality.
Abstract/Sommario: Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride to a climactic trip to a hell populated by friars and demons (surely one of the most outrageously conceived and realized sequences ever committed to film), this is an endlessly ...; [Leggi tutto...]
Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride to a climactic trip to a hell populated by friars and demons (surely one of the most outrageously conceived and realized sequences ever committed to film), this is an endlessly imaginative work of merry blasphemy, framed by Pasolini’s portrayal of Chaucer himself.
