Pasolini

That Porno-teo-kolloseum sequence was painful to watch and just showcases how poor of a filmmaker Ferrara really is. I guess he can shot some gritty NYC flicks, but trying to emulate Italian cinema? Burn!

I first liked Pasolini for its cinematography and Dafoe's perfect portrayal of the idealist, combative but fragile protagonist. These all add up to a very Italian neorealism-like feeling but I never felt like I was watching a copy. Pasolini isn't about making sense, about meaning, or about the (at times dreamlike) stories it tells. Nor is it necessarily biographical. It is about what Ferrara felt when he thought about Pasolini. And I think it's a good movie, because I felt something, too

Great dramatic rendering of the man's last couple of days, replacing usual empty biopic tropes with real thematic force. Pasolini's life and death is revealed, genuine and bare, but still careful and respectful, and Dafoe helps fulfill this role almost perfectly. People may be put off by the inserts of Pasolini's unrealised projects here, but I thought this strengthens this ode to the filmmaker. Perhaps my fanboyish love for Ferrara helps me appreciate his fanboyish love for Pasolini.

Ferrara wisely avoids scandal and reductionist Marxist politics to focus on the artist and the man and the complex intersection between the two in his final days. What emerges is a characteristically messy but aesthetically coherent take on the controversial artist that is collage like in style and plays like a half forgotten dream transmitted via lamp light. It's a shame then that the lengthy, occasionally tedious, fictional dramatisations of Pasolini's written work almost ruin it.

Quite beautiful, though the representations of Pasolini’s writing are stilted and feel like padding, and Ferrara equivocates on the depiction of the crucial scene (look it up, it wasn’t a random, opportunistic attack as this movie would have you believe).

More a collection of thoughts and digressions -- through interviews, brief encounters and family moments -- than an informative cinebio on the last day of Pasolini's life. Ferrara's Ninetto Davoli vignettes are by far the best thing of his direction, while Dafoe is able to turn every scene into a lucid delirium about the human tragedy that contemporary people face every day through the violence of capitalism.

A participação do Ninetto Davoli é uma das coisas mais lindas já realizadas em película.

CineMajestic - Basın Gösterimi: Tipik biyografilerden uzak durayım, Pasolini'nin zihni içinde gezdireyim seyircileri derken filmi şarampole yuvarlamış Ferrara. Kaçan bir fırsat.