Pier Paolo Pasolini

APPUNTI PER UN FILM SULL’INDIA

The two documentary films APPUNTI PER UN FILM SULL’INDIA (1967/68) and APPUNTI PER UN’ORESTIADE AFRICANA (1968/69) resulted from a planned film project about the topics of religion and hunger in the countries of the ‚Third World’. Originally more documentary films about the reality in Arabic countries, in Latin America and Afro-American parts of the USA were planned, but they were never done. Pasolini’s fascination of these countries and cultures must be seen in the whole context of his social critique. Pasolini’s idea was that the culture that is not yet influenced by the destructive power of capital and consumption is to be found in the proletariat and in societies with agrarian structures: these societies are the original element and principle of order itself. Even though the countries of the Third World have been colonized by the West, one can still find more authenticity in these societies than in the structures of the corrupt West. Those countries are also origin of a positive revolutionary dynamic towards the West – but a few years later Pasolini distanced himself from this thought when he realized that there was no revolution of the proletariat but that of the bourgeoisie.
 

Italy 1968
Regie: Pier Paolo Pasolini
34min, 35mm, schwarzweiß, OmeU
read more

APPUNTI PER UN’ORESTIADE AFRICANA – NOTIZEN ZU EINER AFRIKANISCHEN ORESTIE

Between December 1968 and the beginning of 1970, the poet and film maker Pasolini shoots the locations of a modern version of the tragedy of Aeschylus. The story is to be set not in Greece, but in Africa; Africa the ever tribal, imbued with the sacred, where modernity is making a timid debut. Questioning both political progress and the dangers of denaturing, Pasolini travels through Uganda and Tanzania on the lookout for settings and characters. He himself comments on his images. The ‘Appunti’ are meant as the pilot study notes for a film that was never actually made. read more

CHE COSA SONO LE NUVOLE?

Shakespeare’s ‚Othello’ is staged in a folksy puppet theatre. Othello (Ninetto Davoli) gets fooled by Jago (Totò).

Italy 1967
Regie: Pier Paolo Pasolini
20min, 35mm, Farbe, OmeU

LA SEQUENZA DEL FIORE DI CARTA

A naive Ricietto (Ninetto Davoli) wanders the streets of Rome. In contrast to his environment he is happy and unconcerned. The it happens: God speaks to Ricietto about the world’s demerit.

Italy 1968
Regie: Pier Paolo Pasolini
10min, 35mm, Farbe, OmeU

LA TERRA VISTA DALLA LUNA

Category: IFFI 2011, Pasolini – 3 Worlds
This episode tells the story of Ciancicato Miao (Totò) and his son Baciù (Ninetto Davoli) who mourn their wife’s and mother’s death and look for a perfect replacement.

Italy 1966
Regie: Pier Paolo Pasolini
31min, 35mm, Farbe, OmeU
Supported by ISTITUTO CINEMATOGRAFICO DELL’AQUILA “La Lanterna Magica”

LE MURA DI SANA’A

During the shooting of DECAMERON (1970) Pasolini and his team spent a few weeks in Yemen for the episode ALIMBECH, which in the end was removed from the final version of the film and has been lost ever since. Pasolini took the remaining few metres of celluloid in October 1970 and filmed the streets of Sanaa, the beautiful facades, walls and towers of this ‚wild and dusty Venice’. The documentary’s aim was to make UNSECO aware of the importance and value or this place.
 

Italy 1971
Regie: Pier Paolo Pasolini
13min, 35mm, Farbe, OmeU
read more

SOPRALLUOGHI IN PALESTINA PER IL VANGELO SECONDO MATTEO

In 1963 Pasolini traveled to the Holy Land to find fitting locations for his new film IL VANGELO SECONDO MATTEO. He visited Israel, Palestine, Syria and Jordan. He spent some time in Jesus’ domains to find inspiration for his film. But the places did not match his imagination: The ‘modern’ Holy Land had lost its chimera of nativeness and archaism, and so Pasolini ended up shooting the film in Southern Italy. This documentary film is the result of the material developed during this journey.
  read more