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IMDbPro

Pasolini

  • 2014
  • Not Rated
  • 1h 24min
CALIFICACIÓN DE IMDb
5.9/10
4.8 k
TU CALIFICACIÓN
Willem Dafoe in Pasolini (2014)
BiografíaDocudramaDramaDrama de Época

Una mirada caleidoscópica al último día del cineasta italiano Pier Paolo Pasolini en 1975.Una mirada caleidoscópica al último día del cineasta italiano Pier Paolo Pasolini en 1975.Una mirada caleidoscópica al último día del cineasta italiano Pier Paolo Pasolini en 1975.

  • Dirección
    • Abel Ferrara
  • Guionistas
    • Maurizio Braucci
    • Abel Ferrara
    • Nicola Tranquillino
  • Elenco
    • Willem Dafoe
    • Ninetto Davoli
    • Riccardo Scamarcio
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    5.9/10
    4.8 k
    TU CALIFICACIÓN
    • Dirección
      • Abel Ferrara
    • Guionistas
      • Maurizio Braucci
      • Abel Ferrara
      • Nicola Tranquillino
    • Elenco
      • Willem Dafoe
      • Ninetto Davoli
      • Riccardo Scamarcio
    • 17Opiniones de los usuarios
    • 120Opiniones de los críticos
    • 71Metascore
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 premios ganados y 5 nominaciones en total

    Videos1

    'Pasolini': Official US Trailer
    Trailer 2:14
    'Pasolini': Official US Trailer

    Fotos46

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    Elenco principal94

    Editar
    Willem Dafoe
    Willem Dafoe
    • Pier Paolo Pasolini
    Ninetto Davoli
    Ninetto Davoli
    • Epifanio
    Riccardo Scamarcio
    Riccardo Scamarcio
    • Ninetto Davoli
    Valerio Mastandrea
    Valerio Mastandrea
    • Nico Naldini
    Roberto Zibetti
    Roberto Zibetti
    • Carlo
    Andrea Bosca
    Andrea Bosca
    • Andrea Fago
    Giada Colagrande
    Giada Colagrande
    • Graziella Chiarcossi
    Damiano Tamilia
    • Pino Pelosi
    Francesco Siciliano
    Francesco Siciliano
    • Furio Colombo
    Luca Lionello
    Luca Lionello
    • Narrator
    • (voz)
    Salvatore Ruocco
    Salvatore Ruocco
    • Politician
    Adriana Asti
    Adriana Asti
    • Susanna Pasolini
    Maria de Medeiros
    Maria de Medeiros
    • Laura Betti
    Guillaume Rumiel Braun
    Guillaume Rumiel Braun
    • Interviewer
    • (as Lucien Rumiel)
    Dounia Sichov
    • Stewardess
    Pietro Angelini
    • Sandro
    Caterina Fornaciai
    • Stewardess Petroi
    Rosa Diletta Rossi
    • Patrizia
    • Dirección
      • Abel Ferrara
    • Guionistas
      • Maurizio Braucci
      • Abel Ferrara
      • Nicola Tranquillino
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios17

    5.94.7K
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    Opiniones destacadas

    Kirpianuscus

    remember

    a homage. and a sketch. visual poem. and touching story. not very clear but useful for remind a splendid work. a director. and crumbs from his universe. a film who must see twice. or more. because it is a kind of puzzle. and not the presence of Ninetto Davoli or the physical resemblance between Dafoe and Pasolini is the best side but the story itself. the last days of a man in search of the real form of truth. it seems be obscure or too complicated. it seems be only a drawing and not real a coherent film. but it is admirable axis for reflection. about the themes of Pasolini's filmography. about the subjects, decisions and idealism. about Salo meanings. about sense of art. about new adaptation of the Renaissance 's ideal. about a form of revolt and freedom and fight to discover the essence of existence behind masks.
    8christopher-underwood

    the magical the religious and downright dirty

    I remember the reporting on the sordid killing of poet and director, Pier Paolo Pasolini but was stunned to learn it took place as long ago as 1975, just after the completion of Salo. The last day or so of Pasolini's life is told here in a fittingly realistic and dark way but with clips from that last (very difficult) film and newly shot sequences from the director's script for a newly proposed enterprise, once more mixing the magical the religious and downright dirty. Ferrara is, of course, as uncompromising man as his subject and this believable portrait is simply that rather than some flattering or ego boosting enterprise. Willem Dafoe's performance is quite amazing and the look he achieves quite uncanny, Having an Italian wife who adored Pasolini seems to have helped him with this but it is a truly astonishing performance within a very good film. Neither Ferrara nor Pasolini have produced work that is the easiest to enjoy but nor can either be ignored.
    7lasttimeisaw

    A disciple's deferential homage

    Abel Ferrara's long-gestated biopic of Pier Paolo Pasolini has its congenital defect, by cast Willem Dafoe (albeit his striking physical resemblance) as the maestro, hence, the prominent anglophone dialog is rightly incongruous with its milieu and becomes more problematic because the rest Italian cast must follow suit, even for the venerable actress Adriana Asti, who plays Pasolini's senior mother, during a family and friend home-gathering, has to awkwardly keep the conversation going in her heavily accented English, that is a misstep to cut right through a naturally intimate occasion where could have spoken volumes of the internal discord. This language hitch is too big to ignore also because it is erratic, Dafoe manages to converse small talks in Italian (although the credit on IMBb listing that the voice is dubbed), but when he needs to express Pasolini's ideology, he switches to English, as he confesses during the interview with journalist Furio Colombo (Siciliano), paraphrasing here "it is better for me to write than speak about my thoughts", so Ferrara's indecision to stick to one solution chips away the film's potency.

    The film begins just days before Pasolini's shocking demise, but Ferrara judiciously doesn't tap into the juicier conspiracy theories spawned from it henceforth, and Dafoe's performance is restrained most of the time, pensively buries his self-consciousness of the impending quietus, his Pasolini is benevolent, intelligent and impermeable. The film only fitfully weaves flashback into its slender narrative (an 84-minute length), the sexual experience in his youth and rambling, indeterminate thoughts, but one of the merits is that Ferrara pays his reverence to piece together Pasolini's unfinished film, envisioning an idiosyncratic "messiah-seeking" journey starring Pasolini's "great love of his life" Ninetto Davoli as Epifanio and Riccardo Scamarcio as Davoli himself answering their calling and witnessing an annual heterosexual copulation ceremony (in the name of procreation) between gays and lesbians (celebrated with pyrotechnics) en route until a cosmic ending commensurate with Pasolini's own fate.

    The film is chromatically enveloped with a blue-tinted pall of a grubby Rome in the 70s, and when the brutal crunch finally descends on the night of November 2nd, 1975, Ferrara chooses a more pedestrian cause for the attack but injects his condemnation with one glimpse-or-you-will-miss-it shot where the homophobic perpetrators run over a badly beaten Pasolini when hurrying off the place in his vehicle, it could be the final blow extinguishing his last breath, whether it is intentional or accidental, either way, Ferrara hits home with the happening's incomprehensible cruelty.

    Poignancy reaches its apex in Asti's heart-rending breakdown through Maria de Medeiros' Laura Betti, attendant with Callas' stentorian threnody. Ferrara's PASOLINI is a disciple's deferential and cerebral homage to a mentor, whom he has never met and whose myth has been perpetuating around us ever since the horrific tragedy.
    4borgolarici

    Disappointing and inconclusive

    Although beautifully shot and well acted, this movie is fairly disappointing and inconclusive. It doesn't really say much about Pasolini and the oniric scenes just fall flat.
    3didcrywolf

    Dov'è la carne? (Where is the flesh?)

    Sometimes a director wants to pay hommage to a past legend. We have seen it many times with talented directors like Tarentino, De Palma and others. You tell a story and you insert scenes like the masters and you move on, please don't ruin the mystique of masters of illusion by doing boring A DAY IN THE LIFE OF.... When you try to shoot biographical episodes, you are doing a high wire act in high winds. You are most likely to fall flat on your face and seriously injure your reputation. This is the case here. PPP was a shock jock whot reveled in visual controversy and in his writings. He was a combo of Bunuel-Dali-Picasso-Zola. To show his last day was about as interesting as reading the one word Twas and closing the book on A christmas carol. Move on people! there is NO story here

    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Ninetto Davoli, who plays Epifanio in this film, has acted in many of Pier Paolo Pasolini's films and was, for a period of time, his lover. He is also a character in the film, played by Riccardo Scamarcio.
    • Errores
      Laura Betti (Maria de Medeiros) brings a record as a gift to Pasolini and mentions that it is "traditional Croatian music", but the song that is played from the record is in fact Macedonian.
    • Citas

      Pier Paolo Pasolini: Let me be frank to you.

      Pier Paolo Pasolini: I have been to hell and I know things that don't disturb other people's dreams

    • Conexiones
      Featured in Sportin' Life (2020)
    • Bandas sonoras
      Canto delle Lavandaie del Vomero
      Neapolitan Traditional song

      Performed by Roberto Murolo

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    Preguntas Frecuentes

    • How long is Pasolini?
      Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 25 de septiembre de 2014 (Italia)
    • Países de origen
      • Francia
      • Bélgica
      • Italia
    • Idiomas
      • Inglés
      • Italiano
      • Francés
    • También se conoce como
      • Pazolini
    • Locaciones de filmación
      • Italia
    • Productoras
      • Capricci Films
      • Urania Pictures S.r.l.
      • Tarantula
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Total en EE. UU. y Canadá
      • USD 30,757
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 8,362
      • 12 may 2019
    • Total a nivel mundial
      • USD 551,192
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 24 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby Digital
    • Relación de aspecto
      • 1.85 : 1

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