Pier Paolo Pasolini: A Future Life Part 2

July 5 to August 11

Concluding our ongoing retrospective of the films of Pier Paolo Pasolini, we trace the multifaceted artist’s development from his first filmmaking efforts to his vaunted middle period, in which his entirely of-the-moment sense of political and moral urgency collided with his vital lifelong engagement with the antique world. Pasolini’s films of the turbulent 1960s see him revitalizing and revolutionizing the Italian Neorealist tradition, then responding not only to contemporaries like Jean-Luc Godard, but to more classical peers like Sophocles and Euripides, binding together his disparate pursuits in politics, religion, literature, theory, and mythology into a new conception of total cinema. At once austere and radically stylized, avant-garde and ancient, shaped by Pasolini’s own theory of “free indirect discourse”—a definition of the expressive ambiguity that Pasolini admired in the work of modernist directors—these are films difficult to master but, in their abundance of tantalizing and sensuous imagery, easy to surrender to, and among the most radical works of one of cinema’s most radical periods.

Each film screens only three times

Previously Screened