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Comícios de Amor

Título original: Comizi d'amore
  • 1964
  • Not Rated
  • 1 h 32 min
AVALIAÇÃO DA IMDb
7,5/10
2,8 mil
SUA AVALIAÇÃO
Comícios de Amor (1964)
Documentary

Adicionar um enredo no seu idiomaDirector Pasolini traverses Italy in 1963 with camera and microphone interviewing people in public places about sex, marriage and gender roles.Director Pasolini traverses Italy in 1963 with camera and microphone interviewing people in public places about sex, marriage and gender roles.Director Pasolini traverses Italy in 1963 with camera and microphone interviewing people in public places about sex, marriage and gender roles.

  • Direção
    • Pier Paolo Pasolini
  • Artistas
    • Lello Bersani
    • Alberto Moravia
    • Cesare Musatti
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,5/10
    2,8 mil
    SUA AVALIAÇÃO
    • Direção
      • Pier Paolo Pasolini
    • Artistas
      • Lello Bersani
      • Alberto Moravia
      • Cesare Musatti
    • 14Avaliações de usuários
    • 17Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos34

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    Elenco principal17

    Editar
    Lello Bersani
    • Narrator
    • (narração)
    Alberto Moravia
    Alberto Moravia
    • Self - Writer
    Cesare Musatti
    Cesare Musatti
    • Self - Psychoanalyst
    Peppino Di Capri
    Peppino Di Capri
    • Self - Singer
    Ezio Pascutti
    • Self - Football Player
    William Negri
    • Self - Football Player
    Carlo Furlanis
    • Self - Football Player
    Giuseppe Ungaretti
    Giuseppe Ungaretti
    • Self - Poet
    Camilla Cederna
    • Self - Writer
    Oriana Fallaci
    Oriana Fallaci
    • Self - Journalist
    Adele Cambria
    Adele Cambria
    • Self - Journalist
    Antonella Lualdi
    Antonella Lualdi
    • Self - Actress
    Ignazio Buttitta
    • Self - Poet
    Io Appolloni
    • Self - Girl at Lido with Swimming Cap
    • (não creditado)
    Graziella Chiarcossi
    Graziella Chiarcossi
    • Graziella the Bride
    • (não creditado)
    Graziella Granata
    Graziella Granata
    • Self - Girl at Lido with Long Hair
    • (não creditado)
    Pier Paolo Pasolini
    Pier Paolo Pasolini
    • Self - Interviewer
    • (não creditado)
    • Direção
      • Pier Paolo Pasolini
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários14

    7,52.8K
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    Avaliações em destaque

    7AvBaur

    Fascinating

    In this documentary, Pasolini travels around Italy and interviews random people in public places about their attitudes towards sexuality, marriage, and gender issues. It's fascinating to hear how Italians in the early 1960s felt about these topics, and there are plenty of opinions that seem shocking from a modern perspective. There are people who think that divorce should be illegal (they'd rather have spouses kill each other), parents who find it perfectly normal for 14 year-old boys to lose their virginity with a prostitute, and women who think it's only right that they have less rights and freedoms than men. It's especially interesting to hear the interviewees confess their unabashed disgust towards homosexuals to the secretly gay director.

    However, I can't help but wonder if it wouldn't have been more interesting to include some interviews that weren't conducted in public places with groups of people standing around. As it stands, the movie gets a bit repetitive after a while and probably would have been more effective with a shorter running time.
    8Quinoa1984

    somewhat dated but still very insightful with strong questions and good answers

    Pier Paolo Pasolini always has a streak of the documentary filmmaker somewhere in his body of work, where he usually went for expressing his poetic viewpoint on the lower classes (i.e. Mamma Roma) and, later on, the dark fables and tawdry tales of Oedipus Rex and Arabian Nights. If Love Meetings, his only straight documentary feature, isn't completely impressive it may be because in the little moments when he tries for something poetic, oddly enough, like in the numbered transitions, it doesn't really work as well. Those little bits come off as dated 60s stuff. On the contrary though when Pasolini simply takes to the street with a 16mm and a microphone and asks people directly about sex and women's roles and homosexuality and fidelity and freedoms related to all of the above then it gets really interesting. In fact, for a movie relegated to Italian cities and countrysides, with sound-bytes from across the spectrum from college kids to professors (and author Alberto Moravia early on) to farmers in the fields, and done so on the fly and in classic cinema verite style, it doesn't usually feel very old fashioned.

    Much of what's discussed and dug up by Pasolini (who reveals himself wonderfully here as a solid journalist, something I would have liked to have seen more of in his career after seeing this) can be relatable for today's youth, if only as a cohesive set of opinions and viewpoints and occasional factoids on standards set between men and women and privacy and liberation and so on. To be sure some of it is stuck in its time and place (practically all of the children asked "Where do babies come from?" say the stork, or something involving God or other). But a lot of it is so absorbing because of the generous flow of ideas- it's a wonderfully edited piece, as sometimes crudely constructed as it is, which is part of the point as a true independent production- and Pasolini's determination to get as much as he can at the heart or whatever at sexual relations and societal norms and what's changed over time in Italy and if there can be any more change in the future. It's probably the most obvious example from the director to screen in a sociology class. 8.5/10
    7markwood272

    Interesting document of time and place

    Saw this beautifully preserved/restored print, with subtitles, via YouTube. Pasolini, with his reputation for political and every other form of radicalism, seems inhibited here, even in the discussion segments with Alberto Moravia and Cesare Musatti. The man-and-woman (and children, students)-in-the-street-and-on-the-farm interviews seem dated, probably since the interviews were conducted on the cusp of major changes in marital and family laws, policies, sexual attitudes in Italy and elsewhere. While no groundbreaking documentary, it's still a fascinating document of the time and place. A more daring and cinematically imaginative treatment of similar themes is found in, of course, "I am Curious (Yellow)"(1967) and "I am Curious(Blue)"(1968), directed by Vilgot Sjoman (a former UCLA film student). In those days there were things you could do in Sweden, albeit with censorship problems, that were simply impossible in Italy, period.
    Michael_Elliott

    Good Interviews

    Comizi d'amore (1965)

    *** (out of 4)

    Pasolini travels around Italy throwing a mic into various ranges of people asking frank and honest questions about sexuality. Various topics ranging from homosexuality, prostitutes, divorce, sexual freedom and even asking kids where babies come from. The type of people range from college students to the rich and poor and to women who normally can't speak openly. I'm sure this film was more of a sensation when originally released but I think it holds up quite well today for several reasons. For one, it's interesting to look back over forty-years ago and see how young people at the times thought about sex but also how the older people back then looked back on the moral and religious rules of their youth. The film also holds up well today because things really haven't changed too much whenever you really break down the groups of people like Pasolini did. I'm not sure is there was a point to this documentary as it seems like the director simply wanted to know what the country felt on certain issues. There's a lot of humor to be found in the film but most of this comes from the answers the children give about where babies come from. The most interesting thing, knowing that the director was gay, is him asking people about homosexuality and the answers they give him. Most people reply with disgust and I kept wondering if the director would crack and say something but he never does. I think the film goes on a bit too long but it's an interesting look at sexuality on moral and religious aspects.
    7kadar

    Disappointing, but for other reasons.

    I too was disappointed, but not for the reasons cited in the previous comment.

    Instead, I found the film very hard to follow, with lots of academic buzzwords (interviewer Pasolini refers to "the sex problem" at least 20 times), not all of it subtitled, and subtitles that faded out of legibility against light backgrounds.

    The movie was visually unappetizing, in part because of inconsistent and often inept camera work, and in part because of a sloppy transfer to tape that washed out the middle tones and often made it hard to see and read people's faces.

    The most annoying element was the recurrent muting of the voice tracks (and of course the accompanying sub-titles) that was labeled "self-censorship." Was this a comment on official censorship of the time? I get the impression that the most interesting answers were lost to the audience through this process.

    An interesting and meaty idea from a provocative and often great filmmaker, undercut by directorial inexperience and poor repackaging.

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      Edited into Lo schermo a tre punte (1995)

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    • How long is Love Meetings?Fornecido pela Alexa

    Detalhes

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    • Data de lançamento
      • 23 de julho de 1982 (Alemanha Ocidental)
    • País de origem
      • Itália
    • Idioma
      • Italiano
    • Também conhecido como
      • Love Meetings
    • Locações de filme
      • Matera, Basilicata, Itália
    • Empresa de produção
      • Arco Film
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    • Faturamento bruto mundial
      • US$ 2.789
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    Especificações técnicas

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    • Tempo de duração
      1 hora 32 minutos
    • Cor
      • Black and White
    • Mixagem de som
      • Mono
    • Proporção
      • 1.85 : 1

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