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Teorema
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Teorema
Teorema (English: "Theorem") is a 1968 Italian allegorical art film written and directed by Pier Paolo Pasolini. The film centers on a middle-class Milanese family who are introduced to, and then abandoned by, an otherworldly man with a mysterious divine force. Themes include the timelessness of divinity and the spiritual corruption of the bourgeoisie.
Pasolini's sixth film, it was the first time he had worked primarily with professional actors. British actor Terence Stamp stars as the mysterious Visitor, along with Silvana Mangano, Massimo Girotti, Anne Wiazemsky and Laura Betti. Other roles are played by Andrés José Cruz Soublette, Ninetto Davoli, Alfonso Gatto and Carlo De Mejo.
The film was nominated for the Golden Lion 29th Venice International Film Festival, while Laura Betti won the Volpi Cup for Best Actress for her performance.
A mysterious figure known only as The Visitor appears in the lives of a typical bourgeois Italian family. His arrival is heralded at the gates of the family's Milanese estate by an arm-flapping postman. The enigmatic stranger soon engages in sexual affairs with all members of the household: the devoutly religious maid, the sensitive son, the sexually repressed mother, the timid daughter and, finally, the tormented father.
The stranger gives unstintingly of himself, asking nothing in return. He stops the passionate maid from committing suicide with a gas hose and tenderly consoles her; he befriends and sleeps with the frightened son, soothing his doubts and anxiety and endowing him with confidence; he seduces the bored and dissatisfied mother, giving her sexual joy and fulfilment; he cares for and comforts the despondent and ailing father; and he becomes emotionally intimate with the overprotected daughter, removing her childish innocence about men.
One day the herald returns and announces that the stranger will soon leave the household, just as suddenly and mysteriously as he came. In the subsequent void of the stranger's absence, each family member is forced to confront what was previously concealed by the trappings of bourgeois life.
The maid returns to the rural village where she was born and is seen to perform miracles; ultimately, she immolates herself by having her body buried in dirt while shedding ecstatic tears of regeneration. The daughter sinks into a catatonic state and is institutionalized; the son leaves the family home to become an artist, obsessively drawing the stranger's face; the mother seeks sexual encounters with young men; and the father strips himself of all material effects, handing his factory over to its workers, removing his clothes at a railway station and wandering naked across the slopes of Mount Etna, where he ultimately screams in primal rage and despair.
Teorema was Pier Paolo Pasolini's sixth feature film and the first to use principally professional actors rather than the amateurs and newcomers the director had employed for his previous works.
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Teorema
Teorema (English: "Theorem") is a 1968 Italian allegorical art film written and directed by Pier Paolo Pasolini. The film centers on a middle-class Milanese family who are introduced to, and then abandoned by, an otherworldly man with a mysterious divine force. Themes include the timelessness of divinity and the spiritual corruption of the bourgeoisie.
Pasolini's sixth film, it was the first time he had worked primarily with professional actors. British actor Terence Stamp stars as the mysterious Visitor, along with Silvana Mangano, Massimo Girotti, Anne Wiazemsky and Laura Betti. Other roles are played by Andrés José Cruz Soublette, Ninetto Davoli, Alfonso Gatto and Carlo De Mejo.
The film was nominated for the Golden Lion 29th Venice International Film Festival, while Laura Betti won the Volpi Cup for Best Actress for her performance.
A mysterious figure known only as The Visitor appears in the lives of a typical bourgeois Italian family. His arrival is heralded at the gates of the family's Milanese estate by an arm-flapping postman. The enigmatic stranger soon engages in sexual affairs with all members of the household: the devoutly religious maid, the sensitive son, the sexually repressed mother, the timid daughter and, finally, the tormented father.
The stranger gives unstintingly of himself, asking nothing in return. He stops the passionate maid from committing suicide with a gas hose and tenderly consoles her; he befriends and sleeps with the frightened son, soothing his doubts and anxiety and endowing him with confidence; he seduces the bored and dissatisfied mother, giving her sexual joy and fulfilment; he cares for and comforts the despondent and ailing father; and he becomes emotionally intimate with the overprotected daughter, removing her childish innocence about men.
One day the herald returns and announces that the stranger will soon leave the household, just as suddenly and mysteriously as he came. In the subsequent void of the stranger's absence, each family member is forced to confront what was previously concealed by the trappings of bourgeois life.
The maid returns to the rural village where she was born and is seen to perform miracles; ultimately, she immolates herself by having her body buried in dirt while shedding ecstatic tears of regeneration. The daughter sinks into a catatonic state and is institutionalized; the son leaves the family home to become an artist, obsessively drawing the stranger's face; the mother seeks sexual encounters with young men; and the father strips himself of all material effects, handing his factory over to its workers, removing his clothes at a railway station and wandering naked across the slopes of Mount Etna, where he ultimately screams in primal rage and despair.
Teorema was Pier Paolo Pasolini's sixth feature film and the first to use principally professional actors rather than the amateurs and newcomers the director had employed for his previous works.