An all-day celebration, “Pasolini 100: An Homage to Pier Paolo Pasolini,” is set for this Saturday at the Castro_Theatre. Five films and a reception make up the very Italian bill. Read more 🎞 ⤵️
Never one to hold back when depicting the truth, Pier Paolo Pasolini, nearly 50 years after his death, remains a defiant and relevant artist whose films embrace human dignity, condemn authoritarianism and contain vividly depicted sexuality. Worldwide tributes marking the 100th anniversary of Pasolini’s birth include a program in San Francisco where Pasolini admirers and neophytes alike can see a few of the postwar filmmaker’s once “scandalous” works.
Antonucci, who put the program together and has worked on previous such “adventures” honoring Italian screen notables, describes Pasolini as an artist whose courage, truthfulness and interest in the welfare of the world’s have-nots have made him continually significant. Scandal seemed a given for Pasolini. His depictions of realities like prostitution and extreme poverty, as well as his explicit portrayals of sexuality and his openness about his homosexuality, repeatedly got him in trouble with the law and the Catholic Church and displeased the Italian Communist Party.
“We needed somebody to translate the realities for us, to tell us what society was about,” she says, recalling how she and fellow film lovers deeply valued Pasolini’s work. Next, at 12:30 p.m., comes “Mamma Roma” , Pasolini’s second feature film. The poetically gritty drama centers on a former prostitute, played by a powerhouse Anna Magnani, who is trying to escape poverty for the sake of her teenage son. As often occurs in Pasolini’s stories, social circumstances ultimately can’t be overcome. Pasolini’s realistically depicted subjects led detractors to label the film immoral.
“The film has layers,” she adds. “The first time you watch it, you’re shocked. The next time, you look at the symbols in it and at how it captures reality.”
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