Pasolini 101

Poet and painter turned filmmaker Pier Paolo Pasolini courted controversy with his very first feature by using Catholic iconography and liturgical music to render a plaintive, brutally beautiful portrait of a shiftless Roman pimp and thief (then-nonprofessional Franco Citti, in a revelatory performance) whose life of petty crime turns increasingly desperate when the woman who supports him is imprisoned. Melding a hardscrabble neorealist milieu with classical influences, Pasolini offers a vision of underclass struggle as a kind of modern sainthood.

• Italy
• 1961
• 117 minutes
• Black & White
• 1.37:1
• Italian

Let’s talk about sex. In this radically engaged and engaging documentary, Pier Paolo Pasolini takes to the streets, town squares, beaches, factories, and universities of 1960s Italy to solicit everyday citizens’ thoughts on a host of hot-button subjects, including sex work, gender equality, homosexuality, and divorce (then illegal in Italy). What emerges is both a kaleidoscopic cross section of faces and places—from the industrialized cities of the North to the rural villages of the South—and an incisive portrait of a society where, despite the rapid modernization brought on by the postwar “economic miracle,” hypocrisy, repression, and conformism still hold sway.

• Italy
• 1964
• 92 minutes
• Black & White
• 1.85:1
• Italian

While wandering the countryside, a pair of father-and-son vagabonds (played respectively by Italian cinema legend Totò, in his final major film role, and Ninetto Davoli) happen upon a talking crow who spouts philosophy and launches them on a freewheeling picaresque through time, space, and the margins of a rapidly modernizing Italy. A comic Marxist fable that balances heady ideas about religion, poverty, and class struggle with irreverent slapstick sight gags, The Hawks and the Sparrows finds Pasolini at his lightest yet as stingingly subversive as ever.

• Italy
• 1966
• 89 minutes
• Black & White
• 1.85:1
• Italian

With Teorema, a coolly cryptic exploration of bourgeois spiritual emptiness, Pier Paolo Pasolini moved beyond the poetic, proletarian earthiness that first won him renown. Terence Stamp stars as the mysterious stranger—perhaps an angel, perhaps a devil—who, one by one, seduces the members of a wealthy Milanese family (including European cinema icons Silvana Mangano, Massimo Girotti, Laura Betti, and Anne Wiazemsky), precipitating an existential crisis in each of their lives. Unfolding nearly wordlessly, this tantalizing metaphysical riddle—blocked from exhibition by the Catholic Church for degeneracy—is at once a blistering Marxist treatise on sex, religion, and art and a primal scream into the void.

In this hypnotic adaptation of Euripides’s immortal tragedy, Pier Paolo Pasolini casts opera diva Maria Callas (utterly arresting in her only film role) as the sorceress of Greek legend, whose separation from her homeland of Colchis and betrayal by her lover, Jason, lead her down a path of shocking vengeance. Melding Western myth with aesthetic and musical influences from numerous world cultures, Pasolini fashions a mesmerizing cinematic pageant that gathers in force until it explodes in rage and a stunningly nihilistic condemnation of injustice.

• Italy, France, West Germany
• 1969
• 110 minutes
• Color
• 1.85:1
• Italian