The Enduring Legacy of Pier Paolo Pasolini's *Salò*

Abel Ferrara recounts his experience at the American premiere of *Salò*, the final film by Italian director Pier Paolo Pasolini, which took place in 1975. Initially, the screening attracted 15 attendees, but by the end, only eight remained. Ferrara reflects on the film's profound impact, stating, “We had high expectations, but it went beyond that.” The film, notorious for its graphic violence and cruelty, has left an indelible mark on those who encounter it. Filmmaker Catherine Breillat initially found *Salò* unsettling, expressing regret for watching it, but later recognized its deeper significance, suggesting that “you have to be ready to see *Salò*.”

The Guardian

*Salò* was filmed in various locations across Italy in early 1975, contrasting its grim content with a jovial production atmosphere. Hélène Surgère, who played a role in the film, described the cast as youthful and playful, often joking during intense scenes. Pasolini himself aimed to create a film that was “profoundly enigmatic,” emphasizing that understanding it was not essential. Upon its release, *Salò* faced immediate censorship challenges, being initially rejected by Italian film censors before receiving conditional approval in December 1975. However, this approval was short-lived, and the film was not shown uncut in the UK until 2000.

The Guardian

Decades after its contentious release, *Salò* and Pasolini's broader oeuvre are experiencing a revival. Ferrara directed a biopic of Pasolini in 2014, portraying him as a significant influence on his work. He notes that the power of Pasolini's films deepens over time, allowing for new interpretations. In 2024, Bruce LaBruce created a hardcore remake of Pasolini’s *Theorem*, which recontextualizes its themes within contemporary political discourse. LaBruce argues that Pasolini's work transcends simplistic interpretations of identity, particularly in *Salò*, where the interplay of victimhood and complicity is central.

The Guardian

Pasolini's untimely death on November 2, 1975, remains shrouded in mystery, with various theories suggesting organized crime or political motives. Ferrara's biopic explores the last hours of Pasolini's life, depicting a violent attack that led to his death. The complexities surrounding his murder, including the retraction of a confession by Giuseppe Pelosi, who initially claimed responsibility, add layers to Pasolini's legacy. Ferrara emphasizes that Pasolini left behind unfinished works, including two novels and screenplays, which continue to resonate.

The Guardian

The enduring relevance of *Salò* lies not only in its capacity to shock but also in its profound commentary on human nature and society. Both Ferrara and LaBruce express a continual engagement with the film, suggesting that its themes remain pertinent. As Pasolini's work continues to be revisited, it challenges audiences to confront uncomfortable truths about power, identity, and morality, ensuring that his legacy will persist for future generations.

The Guardian

• “We had high expectations, but it went beyond that,” — Abel Ferrara, Director

The Guardian

• “For Breillat, “you have to be ready to see Salò.” — Catherine Breillat, Filmmaker

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• “not to be understood or even to be misunderstood is an intrinsic dimension of this work” — Pier Paolo Pasolini, Director

The Guardian

• “every few years, and it’s always as if I’m seeing it for the first time. It’s just as profound, just as disturbing, just as relevant, if not more so every time.” — Bruce LaBruce, Filmmaker

The Guardian

• “The guy died with two novels, a brilliant movie, he’d finished two incredible screenplays.” — Abel Ferrara, Director

The Guardian