Pier Paolo Pasolini: when Cinema meets Poetry – Full retrospective on the centenary of his birth
1. The Cinema of Cruelty. (2-9 April, 2022)
Following the line of André Bazin, he unscrupulously tackles the representation of instinctive, carnal and visceral impulses, even in a dreamlike key. The evocative and functional definition was invented by Truffaut by collecting the writings that his father / teacher André Bazin had dedicated to films and authors who were confronted with cruel visions of the world or of the inner life: above all Stroheim, Buñuel, Dreyer, but also Ferreri, Oshima and Petri. For us it is also an opportunity to re-propose some titles whose ‘cruelty’ seems to owe (or anticipate) the abyss of Salò.
– Un Chien Andalou (1929, Luis Buñuel)
– L’Age d’Or (1930, Luis Buñuel)
– Salò, or the 120 Days of Sodom (1975, Pier Paolo Pasolini)
– Backstage sul set di Salò (1975, Gideon Bachmann)
– Dies Irae (1943, Carl Theodor Dreyer)
– Los Olvidadaos (1950, Luis Buñuel)
– La grande bouffe (1973, Marco Ferreri)
– Pigsty (1969, Pier Paolo Pasolini)
– Il laboratorio dell’ inferno di Salò (2013, Roberto Chiesi)
– Interview under the tree (1975, Gideon Bachmann)
– In the Realm of the Senses (1976, Nagisa Ôshima)
– The Passion of Joan of Arc (1928, Carl Theodor Dreyer)
– Todo modo (1976, Elio Petri)