An aging porn star agrees to participate in an "art film" in order to make a clean break from the business, only to discover that he has been drafted into making a pedophilia and necrophilia themed snuff film.
A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can ... See full summary »
In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as ... See full summary »
A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.
Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood. Following this, the youths are executed whilst each libertine takes his turn as voyeur. Written by
Banned in Australia for 17 years - Now for the first time Australian audiences have the opportunity to judge one of the most controversial films in the history of cinema. A work of rigorous moral intelligence or a descent into a nightmare of cruelty and lust? (1993) See more »
Essential Bibliography: Roland Barthes: 'Sade, Fourier, Loyola' (Editions du Seuil); Maurice Blanchot: "Lautréamont et Sade' (Editions de Minuit; in Italy Dedalo Libri); Simone de Beauvoir: 'Faut-il brûler Sade' (Editions Gaimard); Pierre Klossowski: 'Sade mon prochain, le philosophe scélérat' (Editions du Seuil; in Italy SugarCo Edizioni); Philippe Sollers: 'L'écriture et l'experience des limites' (Editions du Seuil) See more »
"Salo: The 120 Days of Sodom" (1975): Be prepared for one of the roughest films you'll ever see. This was Pasolini's last, and going by what I've seen, his vision only became bleaker and more disturbed as the years clawed along. Using the Marquis de Sade's ideas on the decadence of 18th century France, Pasolini represents Fascist Italy (1944-45). We are shown the upper class always removed and protected from the outer world as predators of the poor, weak, young, and less educated. A group of wealthy adults shop amongst the kidnapped older children of bourgeoisie. They choose eighteen, and steal them away to a hidden mansion, where there is no escape. There, the adults live out every twisted fantasy they've ever had or can now muster, while demeaning, raping, and torturing the youngsters. The teens react in many ways, none of which are "pretty". This entire film experience MUST be viewed as a symbolic, emotional "explanation" of what it was like to live under Nazi/Fascist rule (in this case), and how an otherwise normal, decent society could be turned into lunatics and sub-animals. Although made 30 years ago (with the usual weaker production qualities of that era), I cannot think of another work which so blatantly and painfully illustrates what those in power are capable of doing when boredom gives rein to impulse. In comparison, "Lord of the Flies" barely lights upon these issues, "Pink Flamingos" was but a tiny, kitschy springboard, and "Schindler's List" described a much narrower range of degradation. To this day, "Salo: " is banned in some countries. This is NOT a film about acting, lighting, sound, camera work, etc.. This is a film about states of mind theirs then, ours now. P.S.: If you are interested in set design, this one is FILLED with original Cubist/Bauhaus/Futurist/Moderne furnishings, murals, and art. Spectacular. Those styles were not yet being reproduced, so Pasolini used the real thing. There is also an interesting use of a Charles Rennie MacIntosh chair which will alter how you see this design from here on out.
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