Pier Paolo Pasolini proved himself a radical with his very first feature, in which he courted controversy by applying Catholic iconography and the liturgical music of Bach to a grim neorealist story set in Italian society’s lowest depths.
In Pier Paolo Pasolini’s neorealist take on society’s marginalized and dispossessed, Anna Magnani delivers a powerhouse performance as a middle-aged prostitute who attempts to extricate herself from her sordid past for the sake of her son.
Pier Paolo Pasolini’s powerfully iconoclastic take on Sophocles’s immortal tragedy blends eras, cultures, and influences to create a searing exploration of fate, free will, and the things we fear most in ourselves.
One of the iconoclastic Pier Paolo Pasolini’s most radical
provocations finds the auteur moving beyond the poetic, proletarian
earthiness that first won him renown and notoriety with a coolly cryptic
exploration of bourgeois spiritual emptiness.