Pasolini

Excellent subtle, performances from all serve the concise script very well. Defoe's marked resemblance and skills means he's umiquely equipped to play this principled, humane visionary.Visuals capture that 70s Italian feel. Lots of muted greens and beiges.Abel Ferrara controversial? How so? Very long career. Top quality performers like Dafoe, Keitel, Walken, Modine, Whitaker, Sciorra, Graham, Binoche Taylor, and Depardieu voted for him. Madonna even! They've all staked their reputations/prospects on him. And, for the most part, returned to do it again.Nuff said.

This film is excellent..Willemstad Dafoe is Pasolini from start to finish! It's compelling partly due to not only excellent acting but superb direction.

Its a far telling of Pasolini's life ... he was a complex man at a time when complex really mattered ... he made a flash in time in the sixties and seventies ... his written work is still thought provoking ... his poems are still ( to me ) his high water mark. Check the film out ... its well done and a good over view of a of Pier Paolo's life.

Such a small and boring film based on the life of a great and exciting man...

Excellent film of Pasolini's mysterious murder, with strong and moving performances throughout.

This film is actually a lot worse than I was expecting. The variety of accents amongst the characters destroys any credibility and makes suspension of disbelief impossible. Maybe the dubbed Italian version would work better, if such a thing exists. But like most of Abel Ferrara's work, it is a bit like a high class porn film, one that is adulating Pasolini by illustrating his last novel and last project (actually I found these confusing). The art direction and tinted cinematography, though excellent, are too stylised to be convincing, a period which I remember well. The Alpha Romeo GTV 2000 which was the cause of Pasolini's death would have been new then and no effort seems to have been made to make this car look new and shiny. So the fact that the rent boy coveted it becomes obscure. So much fo a director that Peter Bradshaw of the Guardian reckons is the best and most notable at the moment. There is one good thing on this Blu-ray and that is the interview with the English actor Robin Askwith (yes he of the Confessions of a Window Cleaner fame). Reading between the lines, it gives a more honest account of Pasolini and is much closer to the truth of what he was like than this film.

This has to be a good film because it leaves you wanting more. Wanting to know more, wanting to see more.This has to be a bad film because it leaves you dissatisfied. You want to know more and to see more.And so, three-stars.It's becoming a habit, not even interrupting the film but simply looking aside during the playback to check Wiki for more info on the subject, in this case Pier Paolo Pasolini. He has the same problematic status, for me, as Bunuel, in that the idea and the recollection of the production by collaborators and admirers, can be more stimulating than the artist's works in their own right. I'd rather watch this, a movie about the last days of Pasolini, acted by Willem Dafoe, than watch an actual Pasolini movie. With time I may immature.'To scandalise is a right. To be scandalised is a pleasure, and those who refuse the pleasure to be scandalised are moralists.' Who could resist a movie that has a capacity for philosophy? It was what drew me in. I would have liked more of this sort of utterance, and maybe a reaction, a critical counterstatement, a dialogue, to add to the stimulation. I could have done with more of the family scenes, and more from the novel, and another integral character, a counterpart or foil to Dafoe's Paolo. Think of Dafoe in that movie where he's Van Gogh, a beautiful movie; Vincent has Theo and Gauguin and the doctor, people to see him and bounce ideas. (Another film about an artist's life and death! Hmm.)Abel Ferrara's Pasolini (2014) sets itself a limited agendum, the final days of PPP, and augments it with a bold imagining of his unrealised film project, one involving a man and an angel making their peregrinations to Sodom and towards Paradise. In all this Ferrara succeeds. Narrative drama being dead, the sequence of scenes have a realistic inconsequentiality, so we never know what's coming. For a horror director it has what feels like restraint in its scenes of sex and violence, nothing to churn the stomach, reassuring Bach and Rossini on the soundtrack. It doesn't risk becoming too cerebral or so long as to become boring. And that's my cue.See it. Like I said in the title, anything Willem has got to be worth it.

Fantastic