Salò o le 120 giornate di Sodoma (1975)
»All things are good when taken to excess«
I have long dreaded this one – and for good reason, it quickly turned out. Pasolini’s self-proclaimed »indigestible« attack on fascist mentalities strangely avoids characterization, instead using actors as dehumanized, nameless symbols/archetypes/manifestations of oppressors and victims. The movie is ruthlessly stylized and intellectual – even including a literature list! – clinically exposing the arousing effects of absolute power in a perverted and decadent society where cold cruelty rules supreme. Everything devolves through infernal circles of obsession, shit, and blood into a veritable contest of meaningless evil and hopeless suffering.
Blurring the borders between indifference and ecstasy. In my most controversial, disturbing and unsettling book.