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Displaying wall posts 1 - 30 of 34 in total
Hugo Resendiz Saldivar
21May12
Una critica directa a la Burguesía, como un elemento externo a una familia burguesa, como un hombre que rompe los tabúes y los comportamientos reglamentarios de la sociedad. Es una película completamente simbólica, con un manejo de cámara caótico, pero que se enfoca en imágenes costumbristas, religiosas y pragmáticas. Y una gran actuación de Terrence Stamp que trabaja muy bien con directores italianos.
Thomas Ban
20May12
This goes hand in hand with the book. I don't thing you can truly see the movie for what it really is without readind the book before.
Christopher Smith
1May12
Many regard it as a masterpiece, but it just did nothing for me. Tedious and plodding most of the time, punctuated by some annoying, pretentious pontificating, it's sort of a chore to sit through. It does achieve an interesting atmosphere at times, but that's about it. Whatever other people are seeing in this was lost on me.
Savannah
5Apr12
An entire household is romantically spurned and experiences spiritual degradation in chorus. An unsettling revelation of the naked soul, the unmasked spiritual self that has nothing to do with the mind or body and is capable of transforming us entirely if ever truly unveiled.
Antonius-Blovk likes this
Toto Giancaldo and 4 others like this
Gonçalo Mata
31Oct11
Pasolini here achives a transcendence difficult to pin out. The main character becomes here a symbol, a earthly deity that creates a tumultuous effect on the lives of a wealthy and apparently balanced family. Again Pasolini takes on, not the theme on religion, but on spirituality. Incredible photography.
Danny Indio and notaminorthreat like this
Parandian
8Oct11
This was my first encounter with Pasolini. & it will not be the last, as I was pretty drawn into the philosophical spheres which in my opinion made great use of mythos & symbols. When the final scene approached I could not resist to draw parallells to the ending of another favourite of mine, Kiarostami's Taste of Cherry.
adrianmendizabal
9Aug11
Its one of the most spiritual films I've ever watched. The weight of the philosophy is staggering.
mooniac likes this
Archie Del Mundo
3Jun11
It was God who visited them. He is also the three guys picked up by the Mother by the road. He is most definitely the boy at the station signalling the Father to follow him to the toilet. He is the unseen force that left a void in the Family when He goes away. Pasolini can be both taken seriously as a philosopher, a filmmaker, and a kick-assed visionary
andrea.b likes this
Hideous Bitch Princess
30Mar11
So fucking is the key to reconciliation between Catholics and Marxists?
Mother of God likes this
Aurelien Foucault
17Mar11
Surprising film open to various interpretations... This did age a little bit, especially for the voices/sound recording but otherwise a hell of a fine piece of filmmaking.
Acephalous
20Feb11
Every time I saw that freckled-faced, curly-haired bozo with his camera hopping around, I wanted to bludgeon him to death.
Juan Caudillo
30Dec10
the way that suggests the story is flawless, but certainly the best scene is the meditation of the afflicted woman
Katia Baghai
10Aug10
Pier Paolo Pasolini’s “Theorem” (1968) The members of an outstanding but ordinary family each receive a spiritual revelation in this unique film that itself becomes a cinematographic vehicle of this revelation. While the film protagonists are shaken and forever transformed by the enigmatic spiritual message, Pasolini deploys his film for the purpose of making the viewers to also go through a psychological mutation under its aesthetic guidance. That makes “Theorem” a highly unusual work of art – more than just a work of art. Pasolini juxtaposes historical times and Biblical and mythological references, and forces the viewers to become human beings of various historical periods and of all times without losing particularity and concreteness of their circumstantial and historical destiny. You will find an article about “Theorem” “Being Incarnated into Human Form as a Spiritual Revelation” and analysis of the stills from the film (posted on Dec. 28, 2009) at: www.actingoutpolitics.com By Victor
Анна фон Гесельбрахт
10Aug10
utterly and bombastically silly. strip away the 60s Italian sophisticated mystique and let yourself laugh.
Товарищ Петя.
7Aug10
I'm sorry to say that Avatar has nothing, never, ever in the history of eternity to do with this film. And I sincerely reject any comparison between them. Ever. Scusa.
Hideous Bitch Princess
1Aug10
Bought a VHS copy of it for 3 bucks in the discard section of a library. Will watch soon.
Lemmycaution
18Jul10
Weird comments, I think : Comparing "Avatar" to this film is pure nonsense and I think that it's very very different from Bunuel, as Bunuel is spanish and Pasolini is italian (which can be very much seen in there respective works). This film is such an absolute masterpiece, each time I watch it, it's a shock. It's probably one of the very few films that have such an impact on me.
petit astronaute
9May10
it owes a lot to Buñuel (for example, El Ángel Exterminador), but it's lesser, less of this less of that - Pasolini takes himself too serious, it's a shame.
Drew Gregory
4Dec09
Rashomon, yes. Films like Teorema? Hmm give me a sec... Maybe The Double Life of Veronique? It has the same sort of small event that leads to emotional changes (urgh I'm trying too hard). Actually I would say check out a lot of Haneke and Cronenberg. Some of their films are just as detached. More so than anything Kieslowski did (even if I prefer him!)