It describes the combination of witchery and revenge without much visual tricks and sophistications. Maria's facial features are an excellent choice to portray Medea. The Göreme region of Turkey is a beautiful location, and so is the Iranian and traditional Japenese music.
"Seul celui qui est mythique est réaliste, et seul celui qui est réaliste est mythique" dit le centaure à Jason. Une réécriture de Medée qui affronte le problème du sacré et du réel. Toute l'opposition se joue entre Jason, l'homme rationnel et Médée, la femme sacrée. Jason se constitue en négation par rapport à Médée : le mythe, seul, lui permet de ressaisir le réel que le refus du sacré constitue en un refoulé.
One Pasolini's greatest masterpieces. A classic through Pasolini's eyes: Medea kills her own children to take revenge upon her ex, all these accompanied by Iranian dastgah and Japanese Biwa music. "No e non insistere ancora. É inutile. Niente é piú possibile ormai!"
Callas like a full force gale; ably demonstrating a level of passion & pain far beyond the capacity of others. Standing in the flames, she defies "it's useless; nothing is possible now", capturing both the sadness of a woman broken & betrayed and the disappointment of the filmmaker confronted by a corruption of the modern world closed off to the magic of myth & legend; no longer able to exist simply, without shame.
Medea (Pasolini, 1969) - 78/100 ~ VERY GOOD. A lamentation of the ancient world, Pasolini’s Medea (1969) illustrates profoundly the strange, the mystical, and the unknown. Review at next Projection: http://nextprojection.com/2014/03/14/tiffs-pier-paolo-pasolini-poet-contamination-review-medea-1969/
Full of the striking head-on compositions so typical of Pasolini, it works well because, a little like "The Colour Of Pomegranates", it marries its bold frontal style with the strangeness of the world it portrays. It laments the ancient, mythical world as one of the gradual removal of wonder and magic from human existence. It's real horror is not Medea's murderous actions but the loss of the mythic -and the operatic.