Following Ingmar Bergman, Agnès Varda, Bruce Lee, Federico Fellini, Godzilla, and Wong Kar Wai, the next major box set collection coming from the Criterion Collection has been announced. Arriving this June is Pasolini 101, a 9-Blu-ray set dedicated to the legendary, late Italian director Pier Paolo Pasolini.
“Released in celebration of the 101st anniversary of Pasolini’s birth, this collector’s set provides an essential window onto a transformative period for an artist whose legacy remains a wellspring of freedom and revolutionary force,” Criterion notes. “Including nine provocative, lyrical, often scandal-inducing films from the 1960s––Accattone, Mamma Roma, Love Meetings, The Gospel According to Matthew, The Hawks and the Sparrows, Oedipus Rex, Teorema, Porcile, and Medea––the decade in which this celebrated poet, novelist, and intellectual embarked on a feature filmmaking career, Pasolini 101 is a monument to the artist’s daring vision of cinema.”
The release features new 4K digital restorations...
“Released in celebration of the 101st anniversary of Pasolini’s birth, this collector’s set provides an essential window onto a transformative period for an artist whose legacy remains a wellspring of freedom and revolutionary force,” Criterion notes. “Including nine provocative, lyrical, often scandal-inducing films from the 1960s––Accattone, Mamma Roma, Love Meetings, The Gospel According to Matthew, The Hawks and the Sparrows, Oedipus Rex, Teorema, Porcile, and Medea––the decade in which this celebrated poet, novelist, and intellectual embarked on a feature filmmaking career, Pasolini 101 is a monument to the artist’s daring vision of cinema.”
The release features new 4K digital restorations...
- 3/9/2023
- by Leonard Pearce
- The Film Stage
No two ways about it: April’s a great month for the Criterion Channel, which (among other things; more in a second) adds two recent favorites. We’re thrilled at the SVOD premiere of Hamaguchi’s entrancing Wheel of Fortune and Fantasy, our #3 of 2021, and Bruno Dumont’s lacerating France, featuring Léa Seydoux’s finest performance yet.
Ethan Hawke’s Adventures in Moviegoing runs the gamut from Eagle Pennell’s Last Night at the Alamo to 4 Months, 3 Weeks and 2 Days, while a 14-film John Ford retro (mostly) skips westerns altogether. And no notes on the Delphine Seyrig retro—multiple by Akerman, Ulrike Ottinger, Duras, a smattering of Buñuel, and Seyrig’s own film Be Pretty and Shut Up! That of all things might be the crown jewl.
See the full list of April titles below and more on the Criterion Channel.
—
3 Bad Men, John Ford, 1926
Aar paar, Guru Dutt,...
Ethan Hawke’s Adventures in Moviegoing runs the gamut from Eagle Pennell’s Last Night at the Alamo to 4 Months, 3 Weeks and 2 Days, while a 14-film John Ford retro (mostly) skips westerns altogether. And no notes on the Delphine Seyrig retro—multiple by Akerman, Ulrike Ottinger, Duras, a smattering of Buñuel, and Seyrig’s own film Be Pretty and Shut Up! That of all things might be the crown jewl.
See the full list of April titles below and more on the Criterion Channel.
—
3 Bad Men, John Ford, 1926
Aar paar, Guru Dutt,...
- 3/25/2022
- by Leonard Pearce
- The Film Stage
Above: Italian 2-foglio for Loves of a Blonde (Miloš Forman, Czechoslovakia, 1965).As the 54th New York Film Festival winds to a close this weekend I thought it would be instructive to look back at its counterpart of 50 years ago. Sadly, for the sake of symmetry, there are no filmmakers straddling both the 1966 and the 2016 editions, though Agnès Varda (88 years old), Jean-Luc Godard (85), Carlos Saura (84) and Jirí Menzel (78)—all of whom had films in the 1966 Nyff—are all still making films, and Milos Forman (84), Ivan Passer (83) and Peter Watkins (80) are all still with us. There are only two filmmakers in the current Nyff who could potentially have been in the 1966 edition and they are Ken Loach (80) and Paul Verhoeven (78). The current Nyff is remarkably youthful—half the filmmakers weren’t even born in 1966 and, with the exception of Loach and Verhoeven, the old guard is now represented by Jim Jarmusch, Pedro Almodóvar,...
- 10/15/2016
- MUBI
Teorema
Directed by Pier Paolo Pasolini
Written by Pier Paolo Pasolini
1968, Italy
A work that is chronologically and aesthetically his mid-period film, Teorema is Pier Paolo Pasolini at his finest hour. It is not Neo Realist cousin like Accatone (1961) Mamma Roma (1962), nor is it the debaucherous snarl of Salò (1975); it has a larger portion of the religious parable than The Hawks and the Sparrows (1966), and is as interested in sex as The Decameron (1971).
Teorema is a work of quiet suddenness. It moves quickly from documentary-style social film to its enigmatic plot, and Pasolini seems intent on doing away with any contrivances of a traditional narrative set-up. Within minutes of the opening credits the upper-class family at the center of the story receives a brief telegram: “Arriving tomorrow.” Immediately thereafter, the Visitor (or the Angel, as he’s sometimes called) is in their midst, disrupting and confusing husband, wife, son, daughter,...
Directed by Pier Paolo Pasolini
Written by Pier Paolo Pasolini
1968, Italy
A work that is chronologically and aesthetically his mid-period film, Teorema is Pier Paolo Pasolini at his finest hour. It is not Neo Realist cousin like Accatone (1961) Mamma Roma (1962), nor is it the debaucherous snarl of Salò (1975); it has a larger portion of the religious parable than The Hawks and the Sparrows (1966), and is as interested in sex as The Decameron (1971).
Teorema is a work of quiet suddenness. It moves quickly from documentary-style social film to its enigmatic plot, and Pasolini seems intent on doing away with any contrivances of a traditional narrative set-up. Within minutes of the opening credits the upper-class family at the center of the story receives a brief telegram: “Arriving tomorrow.” Immediately thereafter, the Visitor (or the Angel, as he’s sometimes called) is in their midst, disrupting and confusing husband, wife, son, daughter,...
- 3/16/2014
- by Neal Dhand
- SoundOnSight
Italian screenwriter, novelist and poet who formed a successful partnership with the film director Roberto Benigni
Although he was a respected novelist and poet, Vincenzo Cerami, who has died aged 72 after a long illness, was perhaps best known as a screenwriter, thanks to his long partnership with the director Roberto Benigni. The pair co-wrote six films and had their greatest success with La Vita è Bella (Life Is Beautiful, 1997), which starred Benigni as a Jewish internee in a concentration camp, desperately pretending to his young son that it is all a game. The film won three Oscars and had a further four nominations, including for best screenplay. "Knowing Vincenzo was a gift," said Benigni, "because he taught people's hearts to beat."
On their early films together, Cerami was not able to totally sublimate Benigni's excesses as an actor. Nevertheless, Il Piccolo Diavolo (The Little Devil, 1988), Johnny Stecchino (1991) and Il Mostro (The Monster,...
Although he was a respected novelist and poet, Vincenzo Cerami, who has died aged 72 after a long illness, was perhaps best known as a screenwriter, thanks to his long partnership with the director Roberto Benigni. The pair co-wrote six films and had their greatest success with La Vita è Bella (Life Is Beautiful, 1997), which starred Benigni as a Jewish internee in a concentration camp, desperately pretending to his young son that it is all a game. The film won three Oscars and had a further four nominations, including for best screenplay. "Knowing Vincenzo was a gift," said Benigni, "because he taught people's hearts to beat."
On their early films together, Cerami was not able to totally sublimate Benigni's excesses as an actor. Nevertheless, Il Piccolo Diavolo (The Little Devil, 1988), Johnny Stecchino (1991) and Il Mostro (The Monster,...
- 7/24/2013
- by John Francis Lane
- The Guardian - Film News
Jameson Cult Film Club | Between The Lines | Borderlines Film Festival | Pier Paolo Pasolini
Jameson Cult Film Club, Liverpool & Sheffield
Twenty years before he had the budget to film men shooting each other on horses, Quentin Tarantino had to resort to filming men shooting each other in warehouses. But while Django Unchained has been praised as a bracing return to form, these special "immersive" screenings celebrate the movie that established Tarantino's form in the first place: Reservoir Dogs. By "immersive", they mean screening the movie in a warehouse setting, decked out like an extension of the movie, with characters (watch out for the psychotic Mr Blonde), themed catering and even recreations of the movie's more memorable moments (bring spare ears). It's all free as well, though you'll have to register quickly.
Camp & Furnace, Liverpool, Wed; Gibb Street Warehouse, Birmingham, Thu
Between The Lines, London
This promises to be a ground-breaking festival...
Jameson Cult Film Club, Liverpool & Sheffield
Twenty years before he had the budget to film men shooting each other on horses, Quentin Tarantino had to resort to filming men shooting each other in warehouses. But while Django Unchained has been praised as a bracing return to form, these special "immersive" screenings celebrate the movie that established Tarantino's form in the first place: Reservoir Dogs. By "immersive", they mean screening the movie in a warehouse setting, decked out like an extension of the movie, with characters (watch out for the psychotic Mr Blonde), themed catering and even recreations of the movie's more memorable moments (bring spare ears). It's all free as well, though you'll have to register quickly.
Camp & Furnace, Liverpool, Wed; Gibb Street Warehouse, Birmingham, Thu
Between The Lines, London
This promises to be a ground-breaking festival...
- 2/23/2013
- by Steve Rose
- The Guardian - Film News
His life tragically and brutally cut short by a still unknown assassin, Italian auteur Pier Paolo Pasolini’s last completed project, known as the Trilogy of Life, gets the master treatment from Criterion this month, which includes three films based on classic literary anthologies, The Decameron (1971), The Canterbury Tales (1972), and Arabian Nights (1975). Pasolini was one third done with his next project, to be called the Trilogy of Death, of which his last film, Salo (1975), was the first installment. Upon each of their initial releases, the Life films were all equally greeted with controversy, celebration, and a distinct notoriety, but all overshadowed by the infamy of Salo, which stands on many lists as one of the most difficult to watch films of all time (and was the first Pasolini title to be inducted into Criterion’s annals). Pasolini’s overall motif encapsulated in these three features is a celebration of life,...
- 11/27/2012
- by Nicholas Bell
- IONCINEMA.com
★★★★☆ Recently rereleased alongside comedic classic Hawks and Sparrows (Uccellacci e uccellini, 1966) courtesy of Eureka's esteemed Masters of Cinema home entertainment label, Pier Paolo Pasolini's immeasurably dark satire Pigsty (Porcile, 1969) parallels two equably disturbing and disparate worlds which come together for a suitably bleak, yet ultimately satisfying finale. Though not quite plumbing the same depths as the depraved Salò (1975), Pasolini's austere exploration of pig-like greed resonates now more than ever.
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- 8/6/2012
- by CineVue UK
- CineVue
★★★★☆ Unarguably one of Italian cinema's greatest ever film directors and a child of the post-war neorealist movement, Pier Paolo Pasolini gets the Masters of Cinema treatment this week with the release of both Pigsty (Porcile, 1969) and the ever-enjoyable Hawks and Sparrows (Uccellacci e uccellini, 1966), courtesy of Eureka Entertainment. A Chaucer-esque tale of life, death and conversing birds, Pasolini's divine farce bubbles with satirical wit and vigour.
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- 7/24/2012
- by CineVue UK
- CineVue
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