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 4: Utopias and disillusions

For Pasolini, the second half of the 1960s represented the decline of utopia in a country that the director saw as increasingly doomed to self-destruction. These were years of progressive and melancholic disillusionment: with Uccellacci e uccellini (The Hawks and the Sparrows, 1965), La Terra vista dalla Luna (The Earth Seen from the Moon, 1966) and Che cosa sono le nuvole? (1967), Pasolini explored the form of satirical allegory, while Teorema (1968) was the film that marked Pasolini's conscious intellectual isolation and definitive condemnation of the Italian bourgeoisie.