Salò, or the 120 Days of Sodom (1975) - News Poster


Interview with Carlo Chatrian, the Locarno Film Festival's Artistic Director

This year Locarno International Film Festival celebrates its 70th anniversary. It is one of the most admired and respected film festivals in the world and historically a festival that has been combining tradition and innovation. We had the privilege to discuss some ideas on cinema, curatorship and festivals worldwide with its artistic director Carlo Chatrian, who has been running Locarno for 5 years now.Notebook: Can you share a few thoughts of what we can expect from the 70th edition of the Locarno Film Festival?Carlo Chatrian: Locarno reaches its 70th edition, but we do not want to make a simple celebration. Instead, we want to look ahead rather than look back to the great history of the festival. That's why we decided to have a special section called the Locarno70 which will show debut films that have premiered in Locarno all through its long history. For me, it’s a
See full article at MUBI »

The Best Opening Credit Sequences In Movie History — IndieWire Critics Survey

The Best Opening Credit Sequences In Movie History — IndieWire Critics Survey
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

This week’s question: Inspired by Baby Groot’s “Mr. Blue Sky” dance sequence at the beginning of “Guardians of the Galaxy Vol. 2,” what movie has the best opening credits sequence?

April Wolfe (@awolfeful), La Weekly

Hands down, it’s R.W. Fassbinder’s “The Marriage of Maria Braun.” I watch the opening sequence at least three times a year and show it to every filmmaker I can. I love any film that begins with a bang, and this one does quite literally: We open up on an explosion that rips out a hunk of brick wall, exposing a German couple in the middle of a rushed marriage ceremony.
See full article at Indiewire »

Film Review: Martin Scorsese’s ‘Silence’

Film Review: Martin Scorsese’s ‘Silence’
Only in the real world do humans possess free will, whereas any film about the nature of belief effectively requires the director to play God, forcing them to answer the very questions they often set out to raise. Despite this paradox, in the history of cinema, there have been many great films about Christian faith — though not nearly enough: Carl Theodor Dreyer’s “Ordet,” Robert Bresson’s “The Diary of a Country Priest,” Jean-Pierre Melville’s “Léon Morin, Priest.” Now, add to that Martin Scorsese’s “Silence,” which marks the culmination of a nearly 30-year journey to adapt Japanese novelist Shūsaku Endō’s tale of a 17th-century Jesuit missionary faced with the dilemma of whether to apostatize.

And yet, judged in broadly cinematic terms, “Silence” is not a great movie, despite having been directed by one of the medium’s greatest masters at a point of great maturity (this is
See full article at Variety - Film News »

Criterion Close-Up – Episode 31 – Antichrist & The Gross-Out Episode (Part One)

Mark, Aaron, Cole, and Dustin go further than most people want to go. This is our exploration of the gross film, and whether the subgenre has any artistic merit. Our main episode is a deeper look at Lars von Trier’s Antichrist (2009), followed by a history of gore and violence in film, and then a discussion about Ken Russell’s The Devils (1971) and Pier Paolo Pasolini’s Salò.

About the film:

Lars von Trier shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and woman—a searing Willem Dafoe and Cannes best actress winner Charlotte Gainsbourg—retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema
See full article at CriterionCast »

Metrograph, New York City’s Newest Indie Theater, Unveils Impressive First Slate of Programming

Each weekend we highlight the best repertory programming that New York City has to offer, and it’s about to get even better. Opening on February 19th at 7 Ludlow Street on the Lower East Side is Metrograph, the city’s newest indie movie theater. Sporting two screens, they’ve announced their first slate, which includes retrospectives for Fassbinder, Wiseman, Eustache, and more, special programs such as an ode to the moviegoing experience, and new independent features that we’ve admired on the festival circuit (including Afternoon, Office 3D, and Measure of a Man).

Artistic and Programming Director Jacob Perlin says in a press release, “Jean Eustache in a Rocky t-shirt. This is the image we had in mind while making this first calendar. Great cinema is there, wherever you can find it. The dismissed film now recognized as a classic, the forgotten box-office hit newly resurrected, the high and the low,
See full article at The Film Stage »

The 40th Anniversary of “Salò,” and its Unintentional Legacy

In an ideal world, every filmmaker would live long enough to see the premiere of their final film, even if their life is ended sooner than expected. It’s one thing to experience shooting the film and editing the final product, but it is another thing entirely to witness your creation with an audience seeing it for the first time. Pier Paolo Pasolini is one such director who never witnessed his final film in the company of an audience. 20 days before the premiere of Salò, or the 120 Days of Sodom at the 1975 Paris Film Festival, an unknown assailant, or group of assailants, murdered Pasolini. A well-known provocateur in film and the political arena, Pasolini unknowingly saved his most controversial work for last.

Salò is a notorious adaptation of the Marquis de Sade’s equally infamous novel The 120 Days of Sodom. In Pasolini’s film, however, the novel’s four wealthy,
See full article at SoundOnSight »

On the Anniversary of His Death, Watch Documentaries About and By Pier Paolo Pasolini

On November 2, 1975, the body of Pier Paolo Pasolini was found by a beach in Rome’s Ostia neighborhood. Being the result of a heavy beating and multiple run-overs by his own car, this death is so ignoble — and so mysterious; despite a conviction, the culprit has never really, truly been identified — that it casts a permanent pall over his legacy. (Worse yet, as one below video will show, that Pasolini was still working on Salò, a movie whose controversial status is only heightened by the murder.) Today marks the horrible occasion’s 40th anniversary, but it doesn’t necessitate mourning. If anything, now is a time to honor the man who always forced us to consider things we might not wish to acknowledge — our desires, our vices, our limits, our connections to art, and our relationship with the alternately beautiful and disgusting human body.

Embedded for your viewing pleasure, then,
See full article at The Film Stage »

200 Greatest Horror Films (50-41)

Special Mention: Dead Ringers

Directed by David Cronenberg

Written by David Cronenberg and Norman Snider

Canada, 1988

Genre: Thriller / Drama

Dead Ringers is one of David Cronenberg’s masterpieces, and Jeremy Irons gives the most highly accomplished performance of his entire career – times two. This is the story of Beverly and Elliot Mantle (both played by Irons), identical twins who, since birth, have been inseparable. Together, they work as gynecologists in their own clinic, and literally share everything between them, including the women they work and sleep with. Jealousy comes between the two when Beverly falls in love with a new patient and decides he no longer wants to share his lady friend with Elliot. The twins, who have always existed together as one, have trouble adapting and soon turn against one another. Unlike the director’s previous films, the biological horror in Dead Ringers is entirely conveyed through the psychological
See full article at SoundOnSight »

Pasolini Review – Willem Dafoe Shines In Compelling True Life Story


Rating: ★★★

Abel Ferrara has been toying with the idea of making a film on the life of late Italian filmmaker Pier Paolo Pasolini since the early 1990s. The original idea was set to be quite different from the one we’ve got, mind, and would see actress and collaborator Zoe Lund (Ms. 45, Bad Lieutenant) playing a sort-of female version of Pasolini living the life that he did (the project was scrapped when Lund tragically died in 1997).

It’s easy to understand why Ferrara, the enfant terrible of New York cinema, was and is attracted to Pasolini: both men have been accused of peddling exploitation from those who find their work morally objectionable but, conversely, they have also been hailed as genuine auteurs and makers of important art (Pasolini more so than Ferrara, it must be said).

Pasolini chronicles the final 24 hours in the late director, novelist, critic and intellectual’s life.
See full article at Obsessed with Film »

Pasolini review – a handsome, oblique tribute to the great director

Abel Ferrara’s account of the last days of the Italian auteur, played by Willem Dafoe, is beautiful and enigmatic

“Narrative art is dead – we are in a period of mourning”; “To scandalise is a right, to be scandalised a pleasure”; “Refusal must be great, absolute, absurd…” Abel Ferrara’s infatuated tribute to Pier Paolo Pasolini is littered with such gnomic bon mots, which could apply equally to either director. Like Pasolini, Ferrara has courted both outrage and admiration; he made his name with The Driller Killer, and remains most celebrated for Bad Lieutenant, a film drenched in equal parts with Catholic ideology and censor-baiting exploitation.

This handsomely oblique film focuses on the very end of Pasolini’s life, as he completes work on Salò, Or the 120 Days of Sodom and makes plans for Porno-Teo-Kolossal, the unmade magnum opus which is here reimagined by Ferrara in startling, elegiac fashion. Willem Dafoe
See full article at The Guardian - Film News »

Venice: 'From Afar' wins Golden Lion; 'The Clan' wins Silver Lion

  • ScreenDaily
Venice: 'From Afar' wins Golden Lion; 'The Clan' wins Silver Lion
Anomalisa wins Grand Jury Prize; Robert Pattinson-starrer The Childhood Of A Leader wins best debut.Scroll down for full list of winners

From Afar (Desde Alla), the first Venezuelan production to appear in Competition at the Venice Film Festival, has won the Golden Lion for Best Film.

The directorial debut of Lorenzo Vigas concerns a middle-aged man (Alfredo Castro) who pays young boys to spend time with him. One day he befriends an 18-year-old delinquent (Luis Silva), a development that affects both profoundly.

The film, sold by Celluloid Dreams, is produced by Oscar-nominated screenwriter Guillermo Arriaga, who co-wrote the script.

The Silver Lion for Best Director went to Argentinian film-maker Pablo Trapero for kidnap drama The Clan (El Clan).

Trapero has a good relationship with Venice, having won two prizes for his 1999 debut, Crane World, returning in 2004 with Rolling Family and sitting on the Golden Lion jury in 2012.

The Clan is based on the real-life exploits
See full article at ScreenDaily »

‘From Afar’ By Venezuelan First-Time Director Lorenzo Vigas Scoops Venice Golden Lion

‘From Afar’ By Venezuelan First-Time Director Lorenzo Vigas Scoops Venice Golden Lion
Venice – Venezuelan director Lorenzo Vigas’s striking first feature “From Afar,” about a middle-aged gay man who cruises the streets of Caracas searching for young companions, won the Venice Film Festival’s Golden Lion.

“I want to dedicate this prize to my amazing country, Venezuela. We’ve been having some problems, but we’re very positive. We’re an amazing nation and we’re going to start talking to each other more,” said the beaming debuting director.

The jury was presided by Alfonso Cuaron. This edition of the fest was marked by plenty of prizes going to Latin American cinema and also to debut directors. Cuaron said it’s the first time a Latin American film wins the Golden Lion.

Variety critic Guy Lodge called “From Afar” a “smart, unsensationalized examination of the slow-blossoming relationship between a middle-aged loner and a young street tough.”

Chilean veteran Alfred Castro (“No,” “The
See full article at Variety - Film News »

Restored Version of Charles Burnett’s ‘To Sleep With Anger’ to Screen at Venice Film Festival in September

Over the past few years, the Venice Film Festival, which celebrates its 72nd anniversary in September, has presented newly restored versions of classic films in the Classics section at the festival. Yesterday their list of restored films to be shown was released, and among the 21 classic films selected are Akira Kurosawa’s 1965 "Red Beard," Sergej Ėisenstein’s 1938 epic "Alexander Nevsky," 1946 fantasy "A Matter of Life and Death" co-directed by Michael Powell and Emeric Pressburger, and Pier Paolo Pasolini’s highly controversial and graphic 1975 film "Salò, or the 120 Days of Sodom." But a very welcome surprise was...
See full article at ShadowAndAct »

Venice Classics to include 21 restorations

  • ScreenDaily
Akahige, Amarcord, Aleksandr Nevskij among Venice Classics titles; Bertrand Tavernier selects four films.

Akahige, Amarcord, Aleksandr Nevskij and A Matter of Life and Death are among 21 titles announced today to screen in Venice’s (September 2-12) Classics section, which will reveal further titles later this month.

Director Bertrand Tavernier, who is to receive the Golden Lion for Lifetime Achievement award, has selected and will present four films for the Classics strand: Pattes Blances (White Paws) by Jean Grémillion, La Lupa (The Vixen) by Alberto Lattuada, Sonnenstrahl (Ray of Sunshine) by Pál Fejös and A Matter of Life and Death by Michael Powell and Eric Pressburger.

The 21 restorations:

Akahige (Red Beard) by Akira Kurosawa (Japan, 1965, 185’, B&W), restoration by Tōhō Co., Ltd.

Aleksandr Nevskij (Alexander Nevsky) by Sergej Michajlovič Ėjzenštejn (Ussr, 1938, 108’, B&W), restoration by Mosfilm

Amarcord by Federico Fellini (Italy, 1973, 123’, Color) restoration by Cineteca di Bologna with the support of and the
See full article at ScreenDaily »

Arrow Films announces Blu-ray slate for September

Those cool Blu-ray distributors Arrow Films and Video have announced their line-up of releases for September 2015, and once again there are some real gems in the collection, including Milos Forman’s The Fireman’s Ball, the regular edition of Society (which has just had a steelbook collectors edition released this week) and Sean Connery’s space-opus Zardoz. All the details and artwork for the releases are below….

Closely Observed Trains – released September 27th

Shy teenage virgin Miloš gets his first job as a railway dispatcher and is suddenly forced to confront the realities of the adult world, not least the temptations of the opposite sex. But they in turn are more attracted to his more experienced colleague Hubi?ka and his distinctive way with an inkpad and rubber stamp…

This could easily have fuelled a light comedy, but Ji?í Menzel’s bittersweet feature debut is set during World War II in Nazi-occupied Czechoslovakia,
See full article at Flickeringmyth »

Top 100 Horror Movies: How Truly Horrific Are They?

Top 100 horror movies of all time: Chicago Film Critics' choices (photo: Sigourney Weaver and Alien creature show us that life is less horrific if you don't hold grudges) See previous post: A look at the Chicago Film Critics Association's Scariest Movies Ever Made. Below is the list of the Chicago Film Critics's Top 100 Horror Movies of All Time, including their directors and key cast members. Note: this list was first published in October 2006. (See also: Fay Wray, Lee Patrick, and Mary Philbin among the "Top Ten Scream Queens.") 1. Psycho (1960) Alfred Hitchcock; with Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam. 2. The Exorcist (1973) William Friedkin; with Ellen Burstyn, Linda Blair, Jason Miller, Max von Sydow (and the voice of Mercedes McCambridge). 3. Halloween (1978) John Carpenter; with Jamie Lee Curtis, Donald Pleasence, Tony Moran. 4. Alien (1979) Ridley Scott; with Sigourney Weaver, Tom Skerritt, John Hurt. 5. Night of the Living Dead (1968) George A. Romero; with Marilyn Eastman,
See full article at Alt Film Guide »

The Chicago Critics' Top 100 Horror (or Just Plain Creepy) Films in History

Scariest movies ever made: The top 100 horror films according to the Chicago Film Critics (photo: Janet Leigh, John Gavin and Vera Miles in Alfred Hitchcock's 'Psycho') I tend to ignore lists featuring the Top 100 Movies (or Top 10 Movies or Top 20 Movies, etc.), no matter the category or criteria, because these lists are almost invariably compiled by people who know little about films beyond mainstream Hollywood stuff released in the last decade or two. But the Chicago Film Critics Association's list of the 100 Scariest Movies Ever Made, which came out in October 2006, does include several oldies — e.g., James Whale's Frankenstein and The Bride of Frankenstein — in addition to, gasp, a handful of non-American horror films such as Dario Argento's Suspiria, Werner Herzog's Nosferatu the Vampyre, and F.W. Murnau's brilliant Dracula rip-off Nosferatu. (Check out the full list of the Chicago Film Critics' top 100 horror movies of all time.
See full article at Alt Film Guide »

See Willem Dafoe as Pasolini in Abel Ferrara's biopic trailer

See Willem Dafoe as Pasolini in Abel Ferrara's biopic trailer
Abel Ferrara's Pasolini has released its first trailer.

Willem Dafoe will take on the eponymous role as the controversial filmmaker in the biopic.

Pier Paolo Pasolini was best known for his work on films such as Marquis de Sade adaptation Salò, or the 120 Days of Sodom and The Gospel According to St Matthew.

The film focuses on the filmmaker's final days.

After Pasolini was murdered, a prostitute confessed to the crime but later claimed that he had been forced to do so when his family was threatened.

Pasolini's muse Ninetto Davoli also features in the movie.

The film is yet to announce a release date.
See full article at Digital Spy - Movie News »

Trailer for Abel Ferrara’s ‘Pasolini’, starring Willem Dafoe

Independent New York filmmaker Abel Ferrara became best-known for his low-budget, shockingly violent films that explore the roughest neighbourhoods of the Big Apple. From his 1979 Driller Killer, for which Ferrara starred, edited, and wrote the songs – to his more mainstream hits, The King of New York and Bad Lieutenant – to his most recent film, Welcome to New York, the director has successfully retained his stylistic edge while garnering critical acclaim. Now the controversial filmmaker is set to premiere his newest film at Tiff later this week, a bio-pic about another famed and controversial filmmaker Pier Paolo Pasolini. And right before its premiere, the first trailer has arrived.

For the unfamiliar: Italian director, screen writer, essayist, poet, critic and novelist, Pier Paolo Pasolini is best known for his controversial and provocative films, most notably Salo. He demonstrated a unique and extraordinary cultural versatility, and has since, come to be valued by
See full article at SoundOnSight »

Watch: First Trailer For Abel Ferrara's 'Pasolini' Starring Willem Dafoe

Abel Ferrara has always been known for creating characters and stories that delve into  extreme human behaviour, but his last couple of films have concerned events that he did not have to dream up. This summer, the filmmaker unveiled "Welcome To New York," the fictionalized tale of former Imf chief Dominique Strauss-Kahn, and now, just a couple of months later, Ferrara is in Venice where he's premiering "Pasolini," a feature about controversial, slain filmmaker Pier Paolo Pasolini. And a pretty great first trailer for the film has arrived. Vacillating between English, Italian and French, this looks to be a respectful and quite beautiful look at the director who brought "Salò, or the 120 Days of Sodom" and "The Gospel According To St. Matthew" to cinemas. The movie will focus on the events surrounding Pasolini's murder: while a male prostitute initially confessed to the crime, he later said the act was coerced via.
See full article at The Playlist »
An error has occured. Please try again.

See also

Showtimes | External Sites