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IMDbPro

Porcile

  • 1969
  • Not Rated
  • 1h 39min
CALIFICACIÓN DE IMDb
6.6/10
4.2 k
TU CALIFICACIÓN
Porcile (1969)
A man wandering in a volcanic desert forms a band of murderous cannibals. A post-war German industrialist learns that his son is unable to make decisions or form relationships.
Reproducir trailer2:40
1 video
22 fotos
Drama

Un hombre que vaga por un desierto volcánico forma una banda de caníbales asesinos.Un hombre que vaga por un desierto volcánico forma una banda de caníbales asesinos.Un hombre que vaga por un desierto volcánico forma una banda de caníbales asesinos.

  • Dirección
    • Pier Paolo Pasolini
  • Guionista
    • Pier Paolo Pasolini
  • Elenco
    • Pierre Clémenti
    • Jean-Pierre Léaud
    • Alberto Lionello
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.6/10
    4.2 k
    TU CALIFICACIÓN
    • Dirección
      • Pier Paolo Pasolini
    • Guionista
      • Pier Paolo Pasolini
    • Elenco
      • Pierre Clémenti
      • Jean-Pierre Léaud
      • Alberto Lionello
    • 21Opiniones de los usuarios
    • 52Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Videos1

    Trailer
    Trailer 2:40
    Trailer

    Fotos22

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    Elenco principal12

    Editar
    Pierre Clémenti
    Pierre Clémenti
    • Cannibale
    • (as Pierre Clementi)
    Jean-Pierre Léaud
    Jean-Pierre Léaud
    • Julian Klotz
    • (as Jean Pierre Leaud)
    Alberto Lionello
    Alberto Lionello
    • Signore Klotz
    Ugo Tognazzi
    Ugo Tognazzi
    • Herdhitze
    Anne Wiazemsky
    Anne Wiazemsky
    • Ida
    Margarita Lozano
    Margarita Lozano
    • Madame Klotz
    • (as Margherita Lozano)
    Marco Ferreri
    Marco Ferreri
    • Hans Günther
    Franco Citti
    Franco Citti
    • Secondo cannibale
    Ninetto Davoli
    Ninetto Davoli
    • Maracchione
    Luigi Barbini
    Luigi Barbini
    • Soldato nel deserto
    • (sin créditos)
    Sergio Elia
    • Servo
    • (sin créditos)
    Antonino Faà di Bruno
    Antonino Faà di Bruno
    • Vecchio (scena della sentenza)
    • (sin créditos)
    • Dirección
      • Pier Paolo Pasolini
    • Guionista
      • Pier Paolo Pasolini
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios21

    6.64.2K
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    Opiniones destacadas

    7zetes

    Too obscure, but I can't help but like a Pasolini film

    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.
    KGB-Greece-Patras

    no easy ride... can't really sum it up

    I haven't seen too many Pasolini films. Hardly is there any humour thrown in this one. Unlike, say, Decameron which I really loved, which featured comical shorts, this one, is obscure and hard to explain.

    I feel no need for explaining any metaphors, or finding 'what the poet wanna say', the two parallel stories have nothing obvious in common, and while one of them has no dialogues at all (visually impressive, though) the other one is full of it. Interesting dialogues, for love, lust, passion, politics.

    For desert there are (for once more) two or three bits of Pasolini's denial of God. I can't help but like such statements! Recommended only to Pasolini fans and fans of old, 'arty' euro-films...
    10oOgiandujaOo_and_Eddy_Merckx

    Oblique yet brilliant satire

    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.
    8eagandersongil

    A great sarcastic analogy

    A film by the legendary Italian director Pier Paolo Pasolini, it is above all a Political film, and the filmmaker makes this very clear in his introduction by calling Hitler an "Effeminate Killer", the terminology used here is one of sarcasm and brilliant black humor. , by the way, the whole movie is a joke, it can even be a heavy joke, but here the social criticisms are treated from a unique aspect, where we have the duality of two narrative lines that follow, one about a young man living in a desert who practices cannibalism to feed himself and another of a young man confused with his choices who is the son of a great German industrialist, the point here is to exacerbate that both lines live on the edge of violence and mockery, both lines condemn and suffer punishment for their actions and both at bottom have the same end thought.

    Pasolini uses a narrative of contrasting cores, with a core based on text and another in contemplation, when watching the film for the first time it is common to be confused, but on a second look we understand the creative subtleties of pasolini's script, and we understand, above of all the quality of its text and its artistic importance, "Sty" is not a "heavy" film as many claim, it is a film that works entirely on sarcastic metaphors of social criticism. The direction is consistent, with a camera that fluctuates a lot of visual styles between the two cores of the plot and manages to, in a way, even expose Paolini's versatility, one of the great problems of the film for me are two, without fishing the political references, the narrative by itself does not stand, it is necessary to understand this allegory first, and second is that I would like to feel a little more the viscerality of the characters' actions, as Pasolini himself did in some of his future features. 8/10.
    5RobertF87

    Bleak, Brutal and Bizarre

    This is one of the strangest works of Italian writer-director Pier Paolo Pasolini. It interweaves two story lines: The first, almost dialogue- free, tale takes place in an unknown volcanic landscape at an unspecified historical period and involves a young cannibal who leads a band that rapes and murders the local populace. The second tale is set in 1967 Germany and involves the son of a wealthy industrialist who is used as a pawn in a power game between his father and a business rival.

    It's well-made with several striking images, but it is very slow, very obscure and challenging. It is a bleakly savage satire on human nature, which will certainly not appeal to everyone. In fact it's a film that is easy to admire, but hard to like.

    It is certainly a powerful work of art, but certainly don't expect to enjoy it.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Pier Paolo Pasolini offered the role of the young cannibal to Klaus Kinski, who turned it down because the salary was too low.
    • Errores
      In one of the shots related to the medieval cannibal plot, we see a dust cloud rising in the distance behind the characters. It is a car driving across the mountain landscape.
    • Citas

      Young cannibal: I killed my father, I ate human flesh, and I quiver with joy.

    • Conexiones
      Edited into Pier Paolo Pasolini (1995)

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    Preguntas Frecuentes14

    • How long is Pigsty?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 10 de octubre de 1969 (Francia)
    • Países de origen
      • Italia
      • Francia
    • Sitios oficiales
      • distributor's official site for individuals
      • Distributor's official site for professionals
    • Idioma
      • Italiano
    • También se conoce como
      • Pigsty
    • Locaciones de filmación
      • Mount Etna, Catania, Sicily, Italia
    • Productoras
      • I Film Dell'Orso
      • Internazionale Nembo Distribuzione Importazione Esportazione Film (INDIEF)
      • IDI Cinematografica
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      • 1h 39min(99 min)
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.85 : 1

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