Kamis, 25 November 2010

Giuseppe Bertolucci - Pasolini prossimo nostro - Pasolini next to us (2006)

Plot Outline: We are on the set of Salò or the 120 Days of Sodom. Despite the storm of controversy generated by the film, Pasolini is relaxed, almost joyful. He lets a small camera team led by the journalist Gideon Bachmann follow him around, engaging him in a long and extraordinary interview/conversation. Initially uncertain, Pasolini transforms the interview into a long, clear-sighted and violent attack on society that accompanies photos of the set in a surprising juxtaposition of film and reality, revealing Pasolini’s metaphorical portrait of modernity.
This is an unknown Pasolini, dramatically desperate and detached in the way he denies himself and other a chance, a future, though it is hinted at in the cathartic, liberating original finale of the film discarded by the director and reconstructed here photographically.

Pier Paolo Pasolini wrote:
sadomasochism is a metaphor of what power does to the human body, its commercialisation, its reduction to a thing, which is typical of power, any power

Pier Paolo Pasolini wrote:
If I believed that my cinema was totally integrated into a society that also wants the kind of films that I make, maybe I wouldn't make them.

MidnightSunFilmFestival wrote:

In this film by Giuseppe Bertolucci, Pasolini speaks from beyond the grave about his film, thirty years after his death. Bertolucci carries out the film’s basic idea that had been sketched by Cocteau, showing death at its work perhaps even more cruelly than Cocteau had ever meant.
Bertolucci brings out the central thoughts in Salò through Pasolini’s interview. Pasolini talks about the free outlining of his film and his visions of how ideologies have become faded in the world, and how hope for the better has been destroyed. He talks about the unbearable burden of reality and the perverse mechanism of trying to hide from it. Religion forms the external appearance of this concealment in a demagogical way and has stealthily become a market of free consumption. Pasolini had planned to depict in his next film trilogy “Porno Teo Kolossal” the destruction of ideologies through two comical figures, Ninetto Davoli and Eduardo De Filippo. Already the final images of Salò express the same thing: the representative of authority monitors through his telescope the suffering of his young victims. Like a mirror it reflects the punishment of an intellectual like Pasolini for his foreseeing talent.

single link

no pass
links are interchangeable

Tidak ada komentar:

Posting Komentar



blogger templates | Blogger