Search results
Salò, or the 120 Days of Sodom (Italian: Salò o le 120 giornate di Sodoma), billed on-screen as Pasolini's 120 Days of Sodom on English-language prints and commonly referred to as simply Salò (Italian:), is a 1975 political drama art horror film directed and co-written by Pier Paolo Pasolini.
Jan 10, 1976 · Salò, or the 120 Days of Sodom: Directed by Pier Paolo Pasolini. With Paolo Bonacelli, Giorgio Cataldi, Uberto Paolo Quintavalle, Aldo Valletti. In World War II Italy, four fascist libertines round up nine adolescent boys and girls and subject them to 120 days of physical, mental, and sexual torture.
- (66K)
- Drama
- Pier Paolo Pasolini
- 1976-01-10
On November 2, 1975, the Italian director Pier Paolo Pasolini was found dead—murdered, police said, by a young male prostitute. However lurid its details (the Roman tabloids ran huge front-page photos of the disfigured corpse), his death struck man…
- Duke
Pier Paolo Pasolini’s final work, a controversial transposition of the Marquis de Sade’s novel to Benito Mussolini’s fascist republic of 1944, may prove too strong for some, with its explicit scenes of the humiliation and torture of young men and women by a group of wealthy, sadistic libertines.
Oct 4, 2011 · With these words, written by Pier Paolo Pasolini in a commentary for Corriere della sera in March 1975, as he worked on Salò, or The 120 Days of Sodom, the filmmaker expressed his aversion for the present while simultaneously suggesting the impossibility of escaping it, and thus the need to confront it.
Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture.
People also ask
Why did Pier Paolo Pasolini write the 120 days of Sodom?
How did Pier Paolo Pasolini die?
What does Pasolini mean by 'Sal'?
Why was Pier Paolo Pasolini's final work controversial?
Apr 1, 2015 · Salo: Yesterday and Today: This is a short documentary that shows some behind the scenes interviews intercut with interviews, including some with Pasolini. In a grainy black and white, they show the overhead shooting of the final torture scenes with Pasolini interacting with the actors.
