The Canterbury Tales
Pasolini’s exuberant adaptation of Chaucer’s collection of stories unequivocally links ideology and sex. The film’s bawdy and lively depiction of the pilgrims’ tales was prudishly criticized at the time of its original release for its palpable excesses and vulgarity. Featuring lush cinematography by Tonino Delli Colli and a typically idiosyncratic score by Ennio Morricone.
Session screens with Mamma Roma on February 19.
Salò
Pasolini’s sinful film is immune of its detractors. This is a film that has bounced back from banned and censored conditions and is firmly in the hearts and minds of cinephiles as truly one of the most disgusting experiences put to celluloid.
Based on the Marquis de Sade’s The 120 Days of Sodom, this terrible journey drenched in blood, shit and unimaginable depravity is political allegory at its most potent.
Pasolini was murdered a week before the film’s release and therefore did not live to see the controversy he undoubtedly expected.
Session screens on February the 26 with seven varied works that examine the controversy surrounding the film and the life and death of Pier Paolo Pasolini.
Accattone
Based on his own novel, Pasolini’s directorial debut is a bitingly vivid melodrama set amongst Rome’s sub-proletariat in the squalid suburb of Pigento (where he had lived). Utilising non-professional actors and stark locations, it evokes neo-realism but with a rough power that eschews the sentimental.
Session screens with The Gospel According To Matthew on March 5.