Abstract
ABSTRACTPier Paolo Pasolini recently became the subject of several films, stressing the symptomatic relevance of his life, persona and art. This article analyses Giuseppe Bertolucci's Pasolini prossimo nostro/Pasolini Our Neighbour (2006) a documentary focused on Pasolini's last and most controversial film Salò o le 120 giornate di Sodoma/Salò or the 120 Days of Sodom (1975). The director was murdered only a few days before the première of Salò,which quickly became legendary and stimulated a flourishing of heated reactions ranging from anathema to apotheosis. More interested in cinema than in hagiography, Bertolucci prefers a philological approach to Pasolini's work, and thanks to extensive research—mainly in the archives of Gideon Bachman and Deborah Beer—the spectator can enjoy rare material from the set of Salò, including still photographs, sequences cut from the released film and a revealing conversation between Bachman and Pasolini. Bertolucci's documentary is both a challenging meta-cinematic experiment and a rigorous contribution to Pasolini's legacy in contemporary Italy.
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