Pasolini’s screen adaptation of the famous Euripides play, Medea, illustrates profoundly the strange, the mystical, and the unknown. Through an ascetic visual design, sparse editing, and meticulous framing, Pasolini’s Medea sews together the mystical and the realistical, a notion... Read More »
There is something so sublime about subversion. It takes you away from the monotony of the ordinary and forces you to view reality (or whatever you would like to call it) from a different perspective. It forces you to think, to underthink, and to overthink. And it turns absurdity... Read More »
In Pier Paolo Pasolini's debut feature, Accattone, Pasolini quickly establishes a defining cinematic language that would make saints of sinners and deities from the scourge of the streets. These were the ignoble byproducts of a post-war rebuilding in Italy as a shifting of the fr... Read More »
Pier Palo Pasolini’s second feature, Mamma Roma, is a beautiful film about a mother’s sacrifice to provide a better life for her son. Pasolini uses echoes of the Neorealism style that was established out of necessity 17 years prior by Roberto Rossellini, Vitorio De Sica and othe... Read More »
