Pasolini's films can be interpreted as a long one plan-sequence, a "continuous sequence" with the camera's gaze on reality. No matter how allegorical or realistic his films are, they corresponded to a long, continuous analytical look at Italys history from the 1950s to the 1970s. Maybe Pasolini's whole life is one plan-sequence, from his birth on March 5, 1922 until the night of November 2, 1975, the night of the still unresolved omicidio Pasolini, the murder of Pasolini.
The morning after Pier Paolo Pasolini death, all Italian newspapers published a picture of the battered body, announcing that the scandalous poet had been found. . .
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