Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 2: The “written language of reality”
After his debut film, Pasolini began to reflect on cinema from a theoretical point of view, defining cinematic language as “the written language of reality” and reasoning allegorically about some of its forms, such as editing, sequence shots, indirect free subjectivity and image-time. These ideas are clearly visible in the two films Mamma Roma (1962) and La ricotta (1963), combined with his ongoing poetic exploration of the underprivileged.