Alberto Lionello

A citizen of the Veneto in her sixties. Three stories of “love in the country”: a pseudo Don Giovanni confesses his impotence to the doctor in confidence but he becomes betrayed by him – the medic speaks about his patient with some befriend gossips; a bank employee, after a tormented affair with the young waitress of a bar, returns to be single – disappointed and made bitter; some boys exploit the gratitude of an ingenuous girl from the vicinity. Her father denunciates them but withdraws all efforts after getting a compensation and saves them from jail.Read More »

At the beginning of the twentieth century the noble and chaste Eugenia (L. Antonelli) and the enriched plebeian Raimondo (O. Lionello), Sicilians, come to learn by telegram on their wedding night to have the same father, but for social propriety, and economic reasons, they decide to play the comedy in front of the world by living in chaste marriage. According to the current morality, he can afford some escapade but the virginal wife, while eager to penetrate the mysteries of the flesh, must restrain herself. It will be the readings of D’Annunzio to dismantle her resistance.Read More »

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One of Pasolini’s most enigmatic films, it extends his cinematic obsessions into the realms of cannibalism and bestiality with two interweaving stories of two young men who become sacrificial victims of their different societies. One of them is a soldier and cannibal (Clementi) in a medieval wasteland and the other a son (Léaud) of an ex-Nazi industrialist (Tognazzi) in modern-day Germany. The young German is more attracted to pigs than to his fiancée (Wiazemsky). This rather silly parable, very much a product of the late 1960s, in which the bourgeoisie is caricatured, is filmed with such calm beauty and underlying disgust that it seems to gain in significance. Theorem (1968) and Pigsty were the only films in which the Marxist Pasolini dealt directly with the hated middle classes; thereafter he left the 20th-century behind until his final film, Salo (1975), which looks at even more extreme human actions.Read More »