No one scandalous conservative circles like Pier Paolo Pasolini. It was in 1968, by the release of his film theorem, which brought him a trial in Italy for “obscenity” and again seven years later, at least the famous Sally or 120 days of sodom, fabulous scatophilia and the horrors of Nazism.
Between these two classic porch siege. Although in 1969 was represented by Venice Mostra, the feature film was not acquired the same known as the quoted two title. Do not panic, it goes through the room 56 years later, 56 years after the recovered version.
Porchi is nothing classic. The film follows two parallel and foreign history. First of all, a man (Pierre Clement), who is alone in a volcanic desert, devotes to murder and anthropophagy of hunger. In the second, the son of the rich Nazi industry (Jean-Pierre Lud) refuses to marry a young woman, preferring him … pigs.
Zoophilia, cannibalism, political tale and non -conformist … Pastin Once again, he knew how to lead the public to better exacerbate his demons and point to the community. However, the porch is not the subject of the trial as a film published before him. This work acts as an enigma and unites darkness. Viewers are the task of interpreting themes.
“Pessimistic Movie”
In 1969 after the first day of Venice, Universe Report Director’s words From this point of view:
“More precisely, it could be said that these works were from 1965 to 1968, which I was thinking about the student movement, at the time of existential despair, at a time when there was a crisis in Marxism and the death of John XXIII in Italy. Porchie, though, is a pessimistic film, but it was born in this climate that was more likely to be touched after I myself was “biographically” unhappy.
Porchi is much less graphic and violent than the shrine. The fact is that the film continues to be questioned, passionate and disturbed by the viewer. Three good reasons to (re -) detect internal, respectively.
Piera Pasolin Pasolini Perch, for discovery in cinema
Source: Allocine

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