Directed by Pier Paolo Pasolini.
With Franco Citti, Franca Pasut, Silvana Corsini
Italy 1961, 35mm, b/w, 116 min. Italian with English subtitles
Print from the Harvard Film Archive Collection
Pasolini’s magnificent directorial debut, a chronicle of the life of a petty criminal and pimp, reveals the young director’s indebtedness to postwar Italian neo-realism with its episodic narrative, location shooting on city streets and use of nonprofessional actors. Much remarked at the time was Pasolini’s then-startling use of stately music by Bach on the soundtrack to accompany contemporary urban squalor and the static frontal shots that often evoke early Renaissance painting and immediately stamp Accattone with Pasolini’s distinctive style. In his first screen appearance, Franco Citti as the pimp establishes himself as the most important member of Pasolini’s ensemble of actors.
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How I Killed Mumblecore by Brandon Hutchinson (2010, 62 min.). At first glance, Devin and Benjamin appear to be in a solid relationship, but Devin craves the stability of owning a home. Benjamin finally gives in, and much to Devins surprise, buys an expensive house in the suburbs. Who did he buy the house for? Devin starts to question whether the home is for her or another woman.
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Directed by Pier Paolo Pasolini.
With Jean-Pierre Léaud, Pierre Clementi, Anne Wiazemsky
Italy 1969, 35mm, color, 98 min. Italian with English subtitles
Print from the Pasolini Foundation
In both Theorem and Pigsty, Pasolini seeks to synthesize the mythic strain that surfaced in Oedipus Rex with the stridently political filmmaking emerging in Europe in the second half of the 1960s and epitomized by Godard’s film. In a nod to the French director, Pasolini reunites the lead couple from La Chinoise, Jean-Pierre Léaud and Anne Wiazemsky, who appear in one of Pigsty’s two parallel plots, this one set in the present, with Léaud as the son of a wealthy businessman whose lack of interest in his fiancée betrays an unorthodox sexual predilection. The other story takes place in an unspecified prehistoric past, where a brutish barbarian scrounges for food in an archaic landscape ravaged by primitive warfare. Pigsty acts as a crucial missing link between the critique of Theorem and the darker depictions of savagery to come.
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Pressure Cooker by Mark Becker (2008, 99 minutes). This engaging, fast-paced documentary follows three seniors from Philadelphias Frankford High School as they discover a challenging yet rewarding ally in their cooking teacher, Wilma Stephenson. A legend in the school system, Stephenson's hilariously blunt boot-camp teaching method is validated by years of scholarship success. Each with their own gritty background and personal life to manage, the students find the usual high school distractions swept aside under Stephensons fierce direction, and prepare to achieve more than anyone expects from them.
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Thy Will Be Done by Alice Dungan Bouvrie (2010, 56 min.). Steve has long dreamed of becoming an ordained minister in the Presbyterian Church, but when he came out as a transsexual, his dream was destroyed. Now known as Sara, she continues to pursue her goal of becoming a minister, but experiences even great challenges after her marriage to Jenn, a biological female. The Presbyterian Church refuses to recognize her gender change, and the Book of Order states that anyone who is in a same-sex relationship is ineligible to be ordained. In this documentary, local director and producer Alice Dungan Bouvrie addresses the contradictions of Christianity and organized religion in relation to the LGBT community, while tackling issues of acceptance and identity.
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