"Pasolini's nostalgia for pre-industrial Italy did not sever him from the present. He looked upon the rise of consumerist
society with painful clarity. It inspired him to make his final
film, the most political of all, Salò, or the 120 Days of Sodom.
The radicalism of Salò is so extreme, it goes beyond cinema
and verges upon contemporary art. More than a filmmaker,
Pasolini was an experimenter, a creator of new forms-this
undoubtedly explains why so many artists have paid
homage to him, and continue ... Lire la suite
"Pasolini's nostalgia for pre-industrial Italy did not sever him from the present. He looked upon the rise of consumerist
society with painful clarity. It inspired him to make his final
film, the most political of all, Salò, or the 120 Days of Sodom.
The radicalism of Salò is so extreme, it goes beyond cinema
and verges upon contemporary art. More than a filmmaker,
Pasolini was an experimenter, a creator of new forms-this
undoubtedly explains why so many artists have paid
homage to him, and continue to do so.»
Guillaume de Sardes
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