Synopsis
The final vision of a controversial filmmaker.
Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture.
Salò, or the 120 Days of Sodom
1975 ‘Salò o le 120 giornate di Sodoma’ Directed by Pier Paolo Pasolini
Cast
Paolo Bonacelli Giorgio Cataldi Umberto P. Quintavalle Aldo Valletti Caterina Boratto Elsa De Giorgi Hélène Surgère Sonia Saviange Sergio Fascetti Bruno Musso Antonio Orlando Claudio Cicchetti Franco Merli Umberto Chessari Lamberto Book Gaspare Di Jenno Giuliana Melis Faridah Malik Graziella Aniceto Renata Moar Dorit Henke Antiniska Nemour Benedetta Gaetani Olga Andreis Tatiana Mogilansky Susanna Radaelli Giuliana Orlandi Liana Acquaviva Rinaldo Missaglia Show All…
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Alternative Titles
Saló o los 120 días de Sodoma, 120 meres sta Sodoma, Salò, o las 120 jornadas de Sodoma, Salo, or the 120 Days of Sodom, Pier Paolo Pasolini's Salò, Salò, Salo - De 120 dagen van Sodoma, Salò, ou os 120 Dias de Sodoma, Сало или 120те дни на Содом, Salo: Les 120 Jours de Sodome, Salo ili 120 dana Sodome, Salò - Sodoman 120 päivää, Salò eller Sodoms 120 dagar, Salo, 120 meres sta Sodoma, 120 μέρες στα Σόδομα, Salo, avagy Szodoma 120 napja, ソドムの市, Salò o los 120 días de Sodoma, Salo eller Sodomas 120 dager, Saló, Salò, czyli 120 dni Sodomy, Salo sau cele 120 de zile ale Sodomei, Maheedhar
Genres
Themes
Intense violence and sexual transgression Politics and human rights Faith and religion violence, shock, disturbing, brutal or graphic cannibals, gory, gruesome, graphic or shock sexuality, sex, disturbed, unconventional or challenging horror, creepy, eerie, blood or gothic political, democracy, president, documentary or propaganda Show All…
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my parents finally caved and got disney+ so obviously this was the first thing i watched
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Salo or 120 Days of Sodom is fucking hard. Like, it's a hard movie to discuss. The majority of the community of people that see it either like it because it's fucked up or hate it because it's fucked up. On the other hand, I hear the argument more times than I'd care to that this film is 'gratuitous' 'boring' and 'void of intellectual backbone.' So basically there's a large group of people dismissing the movie and saying it's stupid.
As with a lot movies that I feel really strongly towards, I guess I kinda get it. I mean, as I said in the opening of this entry, Salo is fucking hard. It's more than just a challenging movie, it's…
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Salò has lurked in the back of my mind for awhile now. Going in with the expectation of it being one of the most disturbing films of all time had me intimidated but extremely curious. What I didn’t expect was the bleak, depressing, disconnections within the film. While obviously disturbing (so much poop) I can’t say I’ve seen a film this heartless before. A film that conveys that feeling not through nauseating cinematography or haunting music but through something indescribable. I’ll be thinking about this one for awhile but not for the reasons I expected.
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Everyone has to kind of reassure themselves that its "about fascism" and therefore respectable but I think it's just a gay director having a little too much fun.
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Rats laugh when they are tickled.
Just a happy little fact to cheer me up after that (literal) shit-fest.Rats laugh when they are tickled.
Rats laugh when they are tickled.
Rats laugh when they are tickled.
I'm just going to keep repeating that to myself...If there's one thing that I have to say, it's that, to me, the scariest thing about Salo is the sardonic tone with which it handles its subject matter.
The only other thing that I'll mention, because I'm cinematically exhausted, is it's interesting to me that this film, which is quite possibly the ugliest film ever made, was released in 1975, the same year as Andrei Tarkovsky's Zerkalo/The Mirror, which is quite possibly the most beautiful film ever made. Both films are masterpieces in their own right (or in this case, wrong).
Okay.
Goodnight.
I'm going to go and try to dream about some puppies. -
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First of all, this is all of your faults. I never would have watched this if it hadn't been brought up again and again as such an essential film for any true cinephile. Serves me right for wanting to be part of a club that would have me as a member.
But seriously, this is more of a rite of passage now than a film. The tragic history surrounding it echoes its content, so it would be unwise to dismiss its evils as disproportionate. And yet, art has the ability to be something better. By only showing evil, you are only fighting half the battle. It takes a greater courage to face it, and maintain your humanity.
Still, somehow, what…
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