ShangLuda Admirable film.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Portia Hilton Blistering performances.

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

oOgiandujaOo_and_Eddy_Merckx So instead of having a party and drinking and such, I thought I'd see in the new year by watching two offerings from Pasolini, Le Mura di Sana / The Walls of Sana'a (1964) and Porcile (1969). There are DVD versions out there which have scenes from Porcile in the wrong order, so, at the time of writing, if you want to see Porcile properly you have to have the Region 2 UK Tartan Pasolini box-set. Porcile, I will say, is a great film. There are two stories that are played alongside each other. Pierre Clémenti is a... well... who knows, a sprite perhaps, in a barbarous medieval setting. It's clear Pasolini has chosen him because he has a hard-on for him, he looks like he's come straight out of a Caravaggio painting. Our sprite and some buddies run around the black slopes of Etna being mad, it's very entertaining, and almost wordless. You can't really believe what you're seeing, it appears that Etna is actually active when they're on it, there is black smoke spewing forth, and the actors run past the most awesomely evil sulphurous cave you've ever seen. So you get to see some fornication, cannibalism, volcanism, and our sprite throwing a human head into the aforementioned evil hole. It's the most purely primal thing I've ever seen, and I've watched Matthew Barney films.The other half of the movie is set in an Italianate villa in Germany, it concerns on the one hand Mr Klotz and Mr Herdhitze, two industrialists vying with each other for superiority, and on the other hand Julian (playde by Jean-Pierre Léaud), Herr Klotz's son. Julian is portrayed as withdrawing from the human race almost entirely, this is shown to be down to his parents, who self-describe themselves as the type of people who would be painted as pigs by George Grosz, an elitist, although entirely accurate and most wondrous piece of scriptwriting. Julian has no concept of the joy of living or of functional human relationships at all, and so this child of the rich takes to copulating with pigs. Who can blame him as he has only the example of his parents' ruinous and obscure preoccupations, specifically the pursuit of wealth. At one point Julian describes a dream where he walks along a road searching for something at night, the road is filled with shining puddles, and then a little piglet comes a long and playfully bites four of his fingers off, and it doesn't hurt, they come off, as if they were made of rubber. At one point Julian's mother and his girlfriend stand opposite one another describing him, as if he were two completely separate people. And yet he's both. This shows how ideology and prejudice only allow you to see someone, as if through murky water.

hasosch Bsesides his final work "Salo", the "Porcile" is Pier Paolo Pasolini's most abstract, most hermetic and thus most and also most controversially discussed film. In a famous German reference work of film, this movie is interpreted in the following way: both cannibalism and sodomy be "symbols" of Pasolini's homosexuality. I have seldom read something more stupid and primitive. Moreover, in all reference commentaries that I have seen so far, the interpreters seem to be sure that "Pigsty" consists of two independent parts.In one of the two parallel told stories, a cannibal who seems to live in a paleolithic world, is condemned to be mangled by dogs. In the other parallel told story which plays in a German (?) castle, some negotiations of leading fascists are told. Here we see the ultimate predecessor motives of Salo. There is also a son, Julian, bourgeois like his father, who meets Ida, a liberal girl, and it seems that they cannot come together. The water that separates them looks like the border between the Here and the Beyond and not like a swimming pool embedded in a piece of park. Even when they try to walk towards one another, the never succeed in reaching a meeting point on one of the borders. Julian, however, prefers to enjoy his sexual contacts in the pigsty that belongs to the park of the castle, with the pigs that finally eat him up. The two parallel told stories have in common, as Pasolini himself said, that "bourgeoisy eats up his children". This may be true - since the time of evolution between the paleolithic and post-war fascistoid Italy just made the short step from cannibalism to sodomy.

jackroberts2000 Yet again Passolini at its second best. Two stories , one movie and a lack of continuity. If you are in a depressing- poetic mood let yourself be manipulated by this euro flick . I mostly recommend this movie to fans of neorealism. Do not try to read into the stories. They are just twinkles, strange , powerful , disturbing : cannibalism , gratuitous nudity , desolation, hypocrisy, patricide. As with most of Passolini's works , here politics, religion and philosophy meet to throw up nonsense. Do not watch this movie with your date. If you have the stomach for this picture than you should watch : Salo 120 Days of Sodom (1975) by the same director – now that's a movie for you!

zetes With this, I only have one more Pasolini feature to go and I have seen all of them (the missing culprit being Accatone). Porcile does not represent Pasolini at his best. It's far too abstract and obscure. Two stories alternate, one taking place in a quasi-legendary time and one in modern times. The quasi-legendary scenes concern a young cannibal, some rapists and murderers. The modern sequence concerns some former Nazis living in Italy. One of their sons, played by French actor Jean-Pierre Leaud, is sick of the evil, bourgeois lifestyle he leads. At one point, since he lacks any ambition, he throws himself into an intentional coma. I don't get it, especially how the two parts work together. Still, as a Pasolini fan, I have to admit that it is a strikingly made film. I especially liked the scenes set in the past. Pasolini regulars Franco Citti and Ninetto Davoli (the only actor, I believe, who appears in both parts of the film, although I have no clue why) come along for the ride. Pasolini fans should certainly see it, others should avoid. 7/10.