Porcile uit 1969 (aka Pigsty) is “one of Pasolini’s most
enigmatic films. It extends his cinematic obsessions into the realms of
cannibalism and bestiality with two interweaving stories of two young men who
become sacrificial victims of their different societies. One of them is a
soldier and cannibal (Clementi) in a medieval wasteland and the other a son
(Léaud) of an ex-Nazi industrialist (Tognazzi) in modern-day Germany. The young
German is more attracted to pigs than to his fiancée (Wiazemsky). This rather
silly parable, very much a product of the late 1960s, in which the bourgeoisie
is caricatured, is filmed with such calm beauty and underlying disgust that it
seems to gain in significance. Theorem (1968) and Pigsty were the only films in
which the Marxist Pasolini dealt directly with the hated middle classes;
thereafter he left the 20th-century behind until his final film, Salo (1975),
which looks at even more extreme human actions. [Cf. Worldcinema]
In het voorjaarsnummer 2015 van World Picture verscheen een uitvoerige
bespreking van hoe Spinoza in Pasolini’s Porcile voorkomt. Nogal
uitgebreid blijkbaar, want het is een lang stuk:
Manuele Gragnolati and Christoph F. E. Holzhey, “Active Passivity?
Spinoza in Pasolini’s Porcile” in: World Picture 10 – Spring 2015 [Cf. – PDF]
