Posts Tagged ‘Pier Paolo Pasolini’

The biographical film is dangerous territory. There are myriad reasons for this: the hackneyed form of the biopic, the biographical inconsistencies, the expectations that come with portraying a revered figure. Dealing with a master filmmaker is perhaps the most treacherous of territories; if your filmmaking doesn’t live up to theirs, what have you said that they couldn’t more eloquently?

When it comes to Abel Ferrara, director of Pasolini, it is well established that he has balls of steel. Whether it’s his self-starring soft-core debut 9 Lives of a Wet Pussy, the rampant punk horror The Driller Killer, or his hysterical drug cop drama Bad Lieutenant, his resume is replete with the bold, brash and explicit. But how does this confidence lend itself to the subject here, one of Ferrara’s heroes: Italian neo-realist, Catholic, Marxist, poet, writer, director Pier Paolo Pasolini? The results are fresh, authorial and not at all definitive.

Pasolini begins with Pier Paolo (Willem Dafoe) in post-production on a deeply disturbing scene from his final film Salò, or the 120 Days of Sodom, in which young people are raped and exploited by a fascistic political elite after the fall of Mussolini in 1943. It is a show of confidence to begin the film by referencing this famous scene; a scene representative of Pasolini’s disturbing power as a filmmaker. Fortunately Dafoe immediately cuts a striking, if Americanised, version of Pasolini and generating sufficient intrigue in the character.

There is a tone of rumination that is maintained throughout the film, which plays out Pasolini’s final day before his untimely murder. Juxtaposed with the day’s activities are scenes from an unmade Pasolini film, in which the lesbian and gay communities meet on one night a year in Rome to propagate the human race. The cutting back and forth never glimpses us quite enough of one or the other – given the film’s lean 84 minutes – but with a character as complex as Pasolini one senses that Ferrara intends to create a snapshot rather than a complete portrait.

The film does not attempt to provide us with a comprehensive understanding of Pasolini, nor does it attempt to wrap his death up in an overly ambitious poetic, or political logic. What the film does do is glimpse aspects of a renegade thinker and polymath artist, as seen through the eyes of the generation he influenced most profoundly. It is a reimagining and an attempt at humanising the figure. We see him in his role as an intellectual, as a gay man and as a family figure; he was profoundly attached to his beloved mother.

It is in playing to his own strengths that Ferrara makes a success of Pasolini. He is clearly at home working with Dafoe, whose own work as Jesus in Martin Scorsese’s The Last Temptation of Christ was an even more preposterous, yet fascinating interpretation of a figure of moral significance. Ferrara’s own thematic interests are present in Pasolini: ethics, faith, politics and the alienation of modern life. This is the work of a committed fan and student of Pasolini and not one who claims to possess all the answers.

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The BFI London Lesbian and Gay Film Festival kicked off its exciting programme of films and events yesterday with Jeffrey Schwarz’s documentary I am Devine as the opening film.

I am Divine tells the story of Harris Glenn Milstead the iconic star of John Waters’ films including Pink Flamingos, Female Trouble and Hairspray. I am Divine examines Divine’s fruitful and frequently surprising career and features interviews with John Waters himself, as well as Divine’s mother, Village Voice film critic Michael Musto and many of Divine’s associates and co-stars.

Over the course of the festival we at Reflections will also be looking further afield to films from Israel (Out In The Dark), France (Les Invisibles), South Korea (White Night), Jamaica (Taboo Yardies), India (Papilio Buddha) and Iran to examine the breadth and depth of LGBT filmmaking in 2013.

The LLGFF also delves into critical moments of film history, with a focus on the late Italian auteur Pier Paolo Pasolini. The festival includes screenings of his controversial masterpiece Salò, or the 120 Days of Sodom as well as the new documentary Pasolini’s Last Words and the panel discussion Queer Pasolini.

The festival is also hosting timely events including We Love David Bowie, which looks at David Bowie’s status as a queer icon, talks on Queer Screen Activism for younger people and Global Queer Space, which looks at the role of LGBT film on an international scale. Check back for more on the festival’s vibrant programme.

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