Pier Paolo Pasolini: Cinema in poetry form

The action and set stills that are on exhibit along the outside rail fence and inside the Mole Antonelliana are a tribute to the cinema of Pier Paolo Pasolini and to the set photographers whose snapshots were able to capture the poetry of his films. The dramatic physicality of Pasolini’s film images, the “sacred” corporality of the derelicts and outcasts portrayed, the “barbaric” strength of his style, the poetic and expressive “diversity” of his cinema all come through strongly in the reproductions that document his evolution as a director.
From Accattone (1961) to Salò or the 120 Days of Sodom (1975), the photographs by Angelo Pennoni, Angelo Frontoni, Angelo Novi, Mario Dondero, Divo Cavicchioli, Bruno Bruni, Gianni Barcelloni, Marilù Parolini, Mario Tursi, Mimmo Cattarinich and Deborah Beer have captured fascinating and essential images of the bodies and places depicted by the poet.
Their interest derives not only from their direct ties to the various films but from the fact that they reflect the photographer’s style and personality as well. Freed from the framings chosen by the director or from the lighting created by the director of photography, the photographer applies his own rules, imposes his own point of view. It’s up to the photographer to compose the image, choose the angle, concentrate on a detail or on a particular expression. Even a portrait of Pasolini, when observed by different eyes and filtered by photography, presents different facets each time.
To complete the exhibit, a catalog has been published.

The exhibit is available to be set up in other locations.