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 »
After many years working in the streets of Roma, the middle-age whore Mamma Roma (Anna Magnani) saves money to buy an upper class apartment, a fruit stand and retires from the prostitution.... See full summary »
Pier Paolo Pasolini
As sadomasochistic yakuza enforcer Kakihara searches for his missing boss he comes across Ichi, a repressed and psychotic killer who may be able to inflict levels of pain that Kakihara has only dreamed of.
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 »
Nearly 30 years after its release, 'Salò' continues to enjoy, if that is the word I want, a reputation as a pinnacle of depravity, and thus draws to it both the blood-lusting 'Mondo Cane' crowd, simply interested in being shocked for its own sake, and fans of shock auteurs like Von Trier, Cronenberg, Greenaway et al., who like to look for beauty beneath grotesque surfaces. But both types of viewers will be disappointed to find that the most shocking thing about 'Salò' is how dull it is. Can this film really have raised eyebrows that much in the post-Warhol, post-Waters seventies? Today, its parade of filth and violence actually seems rather tame. You need to have the stomach for it, but it's hardly mind-blowingly horrible.
So, having dealt with 'Salò's' shock elements, I would now move on to its artistic qualities, only there really aren't any. Pasolini's technique is ham-fisted here, reminding one even more of Doris Wishman than of Warhol/Morrissey or Waters, and the content consists of a single thesis statement ('Fascism is bad'). Hardly an idea anybody would argue with, but not exactly profound either. Even as propaganda it's extremely weak--never elaborated in particularly imaginative or interesting or convincing ways. It's like one panel of a none-too-intelligent political cartoon stretched very thin over a two-hour period. Well, here's another rape . . . oh, look, some sh*t-eating . . . well, more torture. Ho hum. 0 out of 10.
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