Pasolini - A Film Series by Pasolini San Francisco 2013

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On the heels of a major retrospective at MoMA in New York, and at UCLA and American Cinemateque in Los Angeles, Luce Cinecittà and Fondo Pier Paolo Pasolini/Cineteca di Bologna, in association with Colpa Cinema and the Italian Cultural Institute of San Francisco, present Pasolini, a sampling of the three periods of the Italian film master Pier Paolo Pasolini (1922 – 1975). The exhibition will continue at the Pacific Film Archive and is part of a larger national tour of 22 Pasolini films, on newly-made 35mm prints. From the Bay Area, the series will travel to Columbus, Washington, Cleveland, Chicago, and Toronto. Tickets for all screenings are $12 each and are available through the Castro Theatre and Roxie Theater’s box offices and websites.

Saturday, September 14 Castro Theatre Castro Street, San Francisco, CA 94114 - (415 4:00 pm Mamma Roma uced by Barth David Schwartz, author of Paso 429 Castro Street San Francisco, CA Film 9/14 SAT @ 6:30 pm Medea - Opening Night (415) 621-6120 www.castrotheatre.com CASTRO THEATRE Ninetto Davoli, leading actor in many of Pas 16th Street by a party in the3117 mezzanine. San Francisco, CA 9/15 SUN @ (415) 863-1087 n collaboration with the Consulate General of www.roxie.com ROXIE THEATER 9:30 pm Il Decameron (The Decameron Introduced by Ninetto Davoli Tickets: Film $12, Party $15 (8:30-9:30, mezz ailable at the Box Office or online at www.ca

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Sunday, September 15 Roxie Theater tickets at pasolinifilm.com 3117 16th Street, San Francisco, CA - (415) 86

MAMMA ROMA SATURDAY, SEPT 14 // 4:00 PM // @ THE CASTRO Introduced by Barth David Schwartz, author of Pasolini Requiem. 1962. Italy. Directed by Pier Paolo Pasolini. With Anna Magnani, Ettore Garofolo, Franco Citti. “Arguably in Mamma Roma the sub-proletarian world provides not only the subject matter but the actual subject of the film, for the story hinges on the attempts of Mamma Roma, an ex-prostitute, to ‘go straight’ and to provide a respectable petty bourgeois existence in which her adolescent son can grow up. The attempts fail and the respectable dream evaporates and, in a sense, there is a moral in this—the first statement by Pasolini of what is to become a recurrent theme: the un-livability of the modern bourgeois and petty-bourgeois world”. (G. NowellSmith, “Pasolini’s Originality,” in Pier Paolo Pasolini, 1977). In Italian; English subtitles. 111 min. FILM $12

MEDEA SATURDAY, SEPT 14 // 6:30 PM // @ THE CASTRO (OPENING NIGHT FILM) Introduced by Ninetto Davoli, leading actor in many of Pasolini’s films; followed by a party. In collaboration with the Consulate General of Italy and the Consulate General of Greece. 1969. Italy. Directed by Pier Paolo Pasolini. With Maria Callas, Laurent Terzieff, Giuseppe Gentile, Massimo Girotti. “Unlike Euripides, who in his tragedy concentrates solely on the final outcome of Medea’s jealousy (the murder of her children), Pasolini devotes almost half of his film to an evocation of the primitive culture of Colchis in which Medea was brought up and from which she flees with the Golden Fleece under the influence of her love for Jason. (…) The tragedy arises not simply from an excess of passion or a conflict of character (Medea and the mediocre Jason) but also from a profoundly observed clash of civilizations” (Roy Armes, Film and Filming, June 1971). Restoration by S.N.C. Presentation of the film in its original 35 mm format is made possible by Gucci. In Italian; English subtitles. 110 min. 6:30 pm - FILM $12 8:30-9:30 - PARTY $15 (in the mezzanine of the Castro)

IL DECAMERON (THE DECAMERON) SATURDAY, SEPTEMBER 14 // 9:30 PM // @ THE CASTRO Introduced by Ninetto Davoli 1971. Italy. Directed by Pier Paolo Pasolini. With Franco Citti, Ninetto Davoli, Silvana Mangano. “Taking 10 tales out of the 100 in Boccaccio’s Decameron, Pasolini has created one of the most beautiful, turbulent, and uproarious panoramas of early Renaissance life ever put on film” (Vincent Canby, The New York Times, December 9, 1971). Profane actions in the name of the sacred and sins committed openly but artfully in this affirmation of human foibles. Pasolini himself portrays a painter, struggling to complete a mural. In Italian; English subtitles. 111 min. FILM $12

IL FIORE DELLE MILLE E UNA NOTTE (ARABIAN NIGHTS) SUNDAY, SEPT 15 // 4:30 PM // @ THE ROXIE Q&A with Ninetto Davoli and Barth David Schwartz. 1973–74. Italy. Directed by Pier Paolo Pasolini. With Franco Merli, Ines Pellegrini, Ninetto Davoli, Franco Citti. “The film offers itself as the prototype of ‘pure’ narration: that is, of narratives that live off of one another, that are embedded in one another to such an extent that it is often impossible to determinate the containing tale from the contained. Il fiore will reproduce the image of the self-generating tales of the original text, and yet its expulsion of the original frame-tale, the story of Scheherazade, is a function of Pasolini’s refusal to trace a possible outer limit to narration within the film itself” (Patrick Rumble, “Stylistic Contamination in the Trilogia della vita: The case of Il fiore delle Mille e una notte” in Pier Paolo Pasolini: Contemporary Perspectives, 1994). In Italian; English subtitles. 129 min. FILM $12

I RACCONTI DI CANTERBURY (THE CANTERBURY TALES) SUNDAY, SEPT 15 // 7:15 PM // @ THE ROXIE Introduced by Ninetto Davoli. 1972. Italy. Directed by Pier Paolo Pasolini. With Pier Paolo Pasolini, Hugh Griffith, Josephine Chaplin, Ninetto Davoli, Laura Betti. “The images are often bewitching, with Tonino Delli Colli’s color photography and Dante Ferretti’s art direction. Among the few studio interiors, for instance, the set for Geoffrey Chaucer’s study is given the determined exploratory perspective of a medieval painting by the use of a checkered floor and other convergent, geometrical forms. Mostly, however, the film uses actual locations, selected with no scholarship about period, but with a flair which gives exciting new aspects to familiar places”. (David Robinson, The Times, June 15, 1973) In Italian; English subtitles. 123 min. FILM $12

SALÓ O LE 120 GIORNATE DI SODOMA (SALO OR THE 120 DAYS OF SODOM)

SUNDAY, SEPT 15 // 2:00 PM & 9:45 PM // @ THE ROXIE 9:45 pm showing introduced by Barth David Schwartz. 1975. Italy. Directed by Pier Paolo Pasolini. With Paolo Bonacelli, Giorgio Cataldi, Uberto Paolo Quintavalle. Salò derives its powerful impact largely from its literalness: staging the tortures of de Sade’s The 120 Days of Sodom point by point, detail by detail, even though Pasolini enforces a kind of shotgun marriage between this novel and a relatively recent historical phenomenon by situating all his simulated atrocities in the last stronghold of Italian Fascism. Like it or not, Salò is a realized work that accomplishes a good deal of what it sets out to do—to appall us with the spectacle of our own worst capacities, and to confront us with the even more disturbing and conflicted responses that this may elicit in us” (Jonathan Rosenbaum, The Soho Village News, June 4, 1980). In Italian; English subtitles. 114 min FILM $12

P.P.P. - A Tribute to Pasolini’s Genius TUESDAY, SEPT 17 // 6:30PM @ ITALIAN CULTURAL INSTITUTE For information, go to iicsanfrancisco.esteri.it

colpa press // limited edition posters // $5 each

In addition to the film screenings, Colpa has chosen Bay Area artists to design limited edition posters for 6 of Pasolini’s films. The selected artists are: Andy Hawgood (Mamma Roma), Lana Williams, Conrad Guevara and Lindsay Tully (Medea), Pablo Guardiola (The Decameron), Chris Duncan (Saló), Facundo Argañaraz (Arabian Nights), and Sarah Hotchkiss (The Canterbury Tales). These 11 x 17 limited edition prints will be available exclusively at this event and online after the event. For print related inquiries contact hello@colpapress.com. Ed of 100 each. Printed on a Risograph 3770. Only $5. Pasolini is co-produced by Colpa, the Castro Theatre, Roxie, Luce Cinecittà, Rome, and Fondo Pier Paolo Pasolini/Cineteca di Bologna. The exhibition is organized by Amelia Antonucci, Colpa Cinema, Camilla Cormanni, Paola Ruggiero, Luce Cinecittà, Roberto Chiesi, Fondo Pier Paolo Pasolini and Cineteca di Bologna. Presented in association with the Ministry of Culture of Italy, The Italian Cultural Institute of San Francisco, and the Consulate General of Italy. All copies in 35mm in Italian with English subtitles realized by Luce Cinecittá, unless otherwise noted. Colpa Cinema is a division of Colpa Press, a publishing company based out of San Francisco, CA, Colpa specializes in hand-made art books and collectible prints and just recently will be presenting Italian films in collaboration with Luce Cinecittà and the local Italian Cultural Institute in programs curated by Amelia Antonucci, a local consultant for cultural events in New York and San Francisco for the last decade.

Co-presenter of MEDEA: San Francisco FIlm Society