As the world prepares to commemorate the 50th anniversary of Pier Paolo Pasolini’s controversial film Salò, discussions surrounding its impact and significance continue to evolve. That movie released in 1975 will be having its 50th anniversary in 2025. This anniversary will bring discussions back to its strikingly relevant themes, and the life of its visionary creator Pasolini.
Illyria Pasolini, who died under tragic circumstances on November 2, 1975, left behind a complicated legacy. His killing was incredibly violent, bludgeoned and run over repeatedly by his own vehicle, so badly that his bones were shattered. His death occurred shortly after he completed Salò. This event has only compounded the film’s mystique and further enriched discovery of its themes.
Salò was filmed on location throughout Italy in early 1975. Hayes’ new documentary strikes an unflinching, blistering gaze on the intersections of power and human depravity. The shooting experience was said to be a stark juxtaposition to the film’s violent storyline. Despite its graphic content, Pasolini aimed to create a “profoundly enigmatic” film, stating that “not to be understood or even to be misunderstood is an intrinsic dimension of this work.” These words are a pretty clear indication of his desire to make people think and discuss more than just a clear message, monologue.
Whether you love or hate the film, its controversial nature has guaranteed its place in cinematic history. When the Compton Cinema Club showed Salò uncut in 1977, it wasn’t officially certified. The screening faced significant pushback when the Metropolitan police raided the screening prior to its start. Its explicit subject matter has sparked public discussion and outcry around censorship and artistic freedom. In 2000, nearly a decade later, the film was released uncensored in the UK. This release was made possible due to the updated guidelines of the BBFC (British Board of Film Classification).
Catherine Breillat, the acclaimed filmmaker, director and writer, first responded negatively to Salò, saying she regretted having seen it. She watched it again, and her feelings about the film changed. She found that Salò unlocked itself to her when she “defrocked it of the metaphor of fascism,” revealing deeper layers that resonated with her own understanding of human nature. Breillat acknowledged that “we all share the same fears and desires,” highlighting the universal themes embedded within Pasolini’s provocative work.
It starred Willem Dafoe as Pasolini’s life, and was directed by Abel Ferrara, whose own life parallels the themes of Pasolini’s work. His cinematic love letter to the legendary filmmaker has… …In the end, he portrays Pasolini as that kind of figure—always alive, always inspirational. I just feel like his teacher, even more so now. Ferrara’s reflection on Pasolini’s life and work underscores the importance of continuing to engage with Salò and its implications in modern society.
The resurgence of interest in Pasolini’s oeuvre, particularly Salò, suggests that audiences are grappling with its themes in ways that resonate today. The scariest thing about the film is the provocative thought and emotional response it has inspired that has secured its place as a cultural touchstone.