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.
Abstract/Sommario: Pier Paolo Pasolini weaves together a handful of Giovanni Boccaccio’s fourteenth-century moral tales in this picturesque free-for-all. The Decameron explores the delectations and dark corners of an earlier and, as the filmmaker saw it, less compromised time. Among the chief delights are a young man’s exploits with a gang of grave robbers, a flock of randy nuns who sin with a strapping gardener, and Pasolini’s appearance as a pupil of the painter Giotto, at work on a massive fresco. One ...; [Leggi tutto...]
Pier Paolo Pasolini weaves together a handful of Giovanni Boccaccio’s fourteenth-century moral tales in this picturesque free-for-all. The Decameron explores the delectations and dark corners of an earlier and, as the filmmaker saw it, less compromised time. Among the chief delights are a young man’s exploits with a gang of grave robbers, a flock of randy nuns who sin with a strapping gardener, and Pasolini’s appearance as a pupil of the painter Giotto, at work on a massive fresco. One of the director’s most popular films, The Decameron, transposed to Naples from Boccaccio’s Florence, is a cutting takedown of the pieties surrounding religion and sex.
Abstract/Sommario: Legendary director (and avowed atheist) Pier Paolo Pasolini’s The Gospel According to Matthew [Il vangelo secondo Matteo] is one of the great retellings of the story of Christ – a cinematic rendering (filmed by invitation from the Pope, no less) at once both passionate and poetic. With stunning black-and-white photography, an eclectic soundtrack (Odetta, Bach, a Congolese mass, etc), and using a cast of non-professionals who voice dialogue drawn directly from scripture, The Gospel Acc ...; [Leggi tutto...]
Legendary director (and avowed atheist) Pier Paolo Pasolini’s The Gospel According to Matthew [Il vangelo secondo Matteo] is one of the great retellings of the story of Christ – a cinematic rendering (filmed by invitation from the Pope, no less) at once both passionate and poetic. With stunning black-and-white photography, an eclectic soundtrack (Odetta, Bach, a Congolese mass, etc), and using a cast of non-professionals who voice dialogue drawn directly from scripture, The Gospel According to Matthew depicts the key events in the life of Christ, from immaculate conception to death on the cross. Vaunted by the Vatican as one of its select few recommended films, acclaimed by the Archbishop of Canterbury as a “great film”, and revered by critics and audiences alike, Pasolini’s Oscar-, Golden Lion-, and BAFTA-nominated film remains a magnificent, awe-inspiring experience. The Masters of Cinema Series is proud to present The Gospel According to Matthew alongside Pasolini’s 1963 feature on the making of the film, Sopralluoghi in Palestina [Scouting in Palestine], in a special Dual Format edition.
Abstract/Sommario: Based on a story by Pier Paolo Pasolini, Bertolucci's big screen debut is La Commare Secca (The Grim Reaper). After a prostitute is brutally murdered in a park near the Tiber river, the police track down people spotted in the park that night in hopes of catching the killer. The story is told in flashbacks as the suspects each give an account of their actions that night. With shades of Kurosawa's Rashomon and Pasolini's stirring screenplay, The Grim Reaper is one of the most impressive ...; [Leggi tutto...]
Based on a story by Pier Paolo Pasolini, Bertolucci's big screen debut is La Commare Secca (The Grim Reaper). After a prostitute is brutally murdered in a park near the Tiber river, the police track down people spotted in the park that night in hopes of catching the killer. The story is told in flashbacks as the suspects each give an account of their actions that night. With shades of Kurosawa's Rashomon and Pasolini's stirring screenplay, The Grim Reaper is one of the most impressive cinematic debuts of all time.
Abstract/Sommario: From its sung opening credits, Hawks and Sparrows (Uccellacci e uccellini) is a wonderfully free-form picaresque fable that lampoons politics, religion and the state of modern Italy, as the beloved comic actor Totò, Pasolini regular Ninetto Davoli and a talking crow wander the landscape through a gauntlet of unexpected encounters. Pigsty (Porcile) is one of his most controversial works, interspersing the mute wanderings of cannibalistic savages against a barren, volcanic earth with the ...; [Leggi tutto...]
From its sung opening credits, Hawks and Sparrows (Uccellacci e uccellini) is a wonderfully free-form picaresque fable that lampoons politics, religion and the state of modern Italy, as the beloved comic actor Totò, Pasolini regular Ninetto Davoli and a talking crow wander the landscape through a gauntlet of unexpected encounters. Pigsty (Porcile) is one of his most controversial works, interspersing the mute wanderings of cannibalistic savages against a barren, volcanic earth with the tale of Julian (played by Nouvelle Vague icon Jean-Pierre Léaud), his radically politicised fiancée Ida (Anne Wiazemsky, Au Hasard Balthazar), and the financial machinations of his father Herr Klotz in contemporary industrialised Germany.
Abstract/Sommario: Pier Paolo Pasolini's masterpiece stars Anna Magnani (Rome Open City) as the fiery Mamma Roma, a prostitute who attempts to better her life for the sake of her son, Ettore. But her efforts may be too late: Ettore is drawn to life on the street, and falls, ironically, for a younger prostitute. Anna Magnani shows why Roberto Rossellini and Jean Renoir considered her the best actress they had worked with in a passionate, tour-de-force performance as Pasolini's Mamma Roma.
Abstract/Sommario: Il giovane Giasone, alla testa degli Argonauti, muove alla volta della remota Colchide per impadronirsi del Vello d'oro (una pelle di caprone dorata ritenuta apportatrice di potenza e fertilità), che dovrà servirgli per riscattare il trono usurpatogli dallo zio Pelia. La maga Medea, figlia del sovrano della Colchide, colpita dalla prestanza fisica di giasone, lo aiuta a rubare il prezioso simulacro e fugge con lui. Tornato in patria, Giasone sposa Medea e ha tre figli, ma, divorato dal ...; [Leggi tutto...]
Il giovane Giasone, alla testa degli Argonauti, muove alla volta della remota Colchide per impadronirsi del Vello d'oro (una pelle di caprone dorata ritenuta apportatrice di potenza e fertilità), che dovrà servirgli per riscattare il trono usurpatogli dallo zio Pelia. La maga Medea, figlia del sovrano della Colchide, colpita dalla prestanza fisica di giasone, lo aiuta a rubare il prezioso simulacro e fugge con lui. Tornato in patria, Giasone sposa Medea e ha tre figli, ma, divorato dall'ambizione, abbandona la famiglia per prendere in moglie Glauce, giovane figlia del re di Corinto. Resa folle dalla gelosia, Medea mette in atto una tremenda vendetta: con le sue arti magiche provoca la morte di Glauce e del re suo padre e, successivamente, uccide i propri figli, incurante delle invocazioni disperate di Giasone.
Questo dvd contiene anche "Le Mura di Sana'a" documentario in forma di appello all'Unesco, girato da Pasolini come grido d'allarme per l'antica e straordinaria città capitale dello Yemen del Nord, minacciata di essere modificata o abbattuta.
