Diary entries forTheorem
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"O Criado" de Joseph Losey já trazia um certo nível de anarquismo a burguesia artística com a presença de um homem que com seu caos e frontalidade para os desejos da carne e os vícios do mundo em uma época de "perversão" dos bons costumes. O que Pasolini faz em "Teorema" é a radicalização dessas questões transformando a família burguesa em uma casca vazia que provou o fruto do desejo pela primeira vez e agora quem está no topo não vê propósito na vida burguesa engessada e quem está na base, ao invés de se perder na dúvida do desejo, se tornam beatos e alçam a um nível de iluminação sagrada quando os mesmos voltam para casa e precisam se reconectar com o todo. Enquanto o visitante afeta de forma duvidosa e confusa aquela família que tinha toda uma vida planejada pelo statuos quo, a empregada da família volta para o seio da sua comunidade e transforma seu corpo e lágrimas em uma fonte que não vai gerar tristeza ou dor e sim a base para uma nova geração que possa viver em comunhão e gozo. Entre os corpos que querem estar vivos, os que tem a curiosidade do próprio sexo, os que querem o toque como forma de vida e calor, Pasolini cria um avatar dos desejos. A vontade de amar, de se tocar, de gozar e de prosperar. Pra alguns o visitante é o diabo e outros é o próprio Eros, desejo tornado em carne e por fim realização, seja pessoal ou coletiva!
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Divinity + politics + sex / religion = This Pasolini's Masterpiece (and Aronofsky's inspiration for mother!)
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Theorem is Pier Paolo Pasolini's tale of seduction, identification and the rationalization of existence. At least, that's what I interpreted. When it comes to an art-house film, the director is the only one certain of intention and I understand, in this case, that Pasolini knew exactly what he was doing. There's a perplexing amalgamation of underlaying themes and messages worth delving into. The seduction phase dawns when an upper-class family host a visitor at their home. It's a young handsome man, and in the mother's view - from across the room - looks like an ideal guest. He's firstly noticed, but not vocal, at a house party, where we don't see them meet but casually glance at one another from a distance. Swiftly later he's making himself at home and already stimulating the eye of the maid in one of many seductions. One by one, the family is promptly seduced. When the film is wrapped up, it could imply that the seduction was only a stimulant for their search for identity, which plays in the latter. Character backgrounds aren't explained, and as the movie progresses it feels that their background could have been themselves in the outset of the film. Each individual in the house is a mystery. Their identities shape dramatically in part of the visitor's presence, conjuring an exploration of self discovery. The obscure and unknown demeanor felt in the film is established and supported by images of a volcanic desert that are spliced throughout. These moments almost seem to be looking for an identity itself; it's not known what these images represent or add to the film until the last puzzle piece is laid down, conclusively fitting as a whole. A sepia tone is applied to the film's beginning, introducing our upper class family about their day but then suddenly converted to color when the visitor is invited under their roof, a convention I interpret was used to show him as a critical catalyst. It's also a beautifully shot film with close-ups that immerse a force of hidden emotion underneath the faces portrayed. It can show a still face, yet endlessly ponder on the emotion occurring inside. And I shan't forget the theme music, being a sad but soothing serenade of late 1960s soul jazz which did in fact alter the film's mood to begin with, adding another aspect of mystery. I found Theorem to be a tantalizing, somewhat erotic work of art-house cinema, further broadening my interest in Pasolini's films. I know they'll be mystifying and undoubtedly perplexing. It's a good assignment for the brain and a looker for the eye.
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sapere di perderti è diventato la coscienza della mia diversità
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que tesão era esse desse povo jss
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“𝘠𝘰𝘶 𝘮𝘶𝘴𝘵 𝘩𝘢𝘷𝘦 𝘤𝘰𝘮𝘦 𝘩𝘦𝘳𝘦 𝘵𝘰 𝘥𝘦𝘴𝘵𝘳𝘰𝘺. 𝘛𝘩𝘦 𝘥𝘦𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯 𝘺𝘰𝘶’𝘷𝘦 𝘤𝘢𝘶𝘴𝘦𝘥 𝘪𝘯 𝘮𝘦 𝘤𝘰𝘶𝘭𝘥𝘯’𝘵 𝘣𝘦 𝘮𝘰𝘳𝘦 𝘤𝘰𝘮𝘱𝘭𝘦𝘵𝘦. 𝘠𝘰𝘶’𝘷𝘦 𝘴𝘪𝘮𝘱𝘭𝘺 𝘥𝘦𝘴𝘵𝘳𝘰𝘺𝘦𝘥 𝘵𝘩𝘦 𝘪𝘮𝘢𝘨𝘦 𝘐 𝘢𝘭𝘸𝘢𝘺𝘴 𝘩𝘢𝘥 𝘰𝘧 𝘮𝘺𝘴𝘦𝘭𝘧. 𝘕𝘰𝘸 𝘐 𝘤𝘢𝘯’𝘵 𝘴𝘦𝘦 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨 𝘢𝘵 𝘢𝘭𝘭 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘳𝘦𝘣𝘶𝘪𝘭𝘥 𝘮𝘺 𝘪𝘥𝘦𝘯𝘵𝘪𝘵𝘺.” Straightforward Pasolini, allowing a trojan horse of bisexual beauty to rupture a family. Pasolini allows atmosphere and metaphor to catapult the film forward instead of character study to enrich the film, leaving something more for the imagination or poetry to substantiate his thesis on the components that build a family unit. Is change from within? Or is an outlier required? By the end, everything that rises must converge.
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Third movie from pasolini and each movie is very different. This is really good. RIP Pasolini! This was start provoking ride. Its beautiful, its art, its everything. Better than Salo? No imo.
