God is dead leaving us the horrifying freedom of uncertainty. A daughter who can’t cope with sexual feelings for her father. A son who falls into nihilism. A wife trying to recreate but failing. The ones who accept are the father and maid. The maid gives herself to the people to die for them. The father gives up his factory to his workers to roam the earth naked and full of uncertainty. Socialism will liberate!!
Lesser filmmakers saw, in the implosion of the bourgeoisie, either a contamination of nihilism or a textbook Marxist revolution. Pasolini, like Buñuel, saw a religious exegesis. Rarely has the cinematic form reached this high, where social dialectics and spirituality blend so seamlessly. Theorem still manages to shock - not because of its violence, but because of its wonder.
So much to say and so few spaces allowed. Mozart Requiem is a great piece of music. . once. Constant traffic noise in the background. . or is it the wind ? Bird calls don’t reflect the habitat. Acting . . . “sigh” Photography surprisingly good. Sooooo long. Even half a bottle of wine didn’t help. But Such an interesting story. Responses to “him” fascinating. 1968 and this movie must have been significant. Love it.
Teorema was Pasolini’s first film overtly depicting sexuality including bisexuality. The plot is about a handsome stranger seducing an entire household including its cleaning lady and they all fall maddeningly in love with him. Besides the boldness and originality, it’s a really enjoyable film that shows the lighter side to Pasolini.
Un film génial qui prend radicalement le parti de l'image au mépris de la constitution des personnages et de la fiction. A travers la critique de la société bourgeoise de Milan, Pasolini interroge notre rapport au désir et au mythe. Images inoubliables à la fin du père qui marche, nu, dans le désert et qui apparaît comme une figure à la fois christique et tragique.