Ugo De Rossi

On September 14, 1975, Pier Paolo Pasolini played his last game of football, before his death, in San Benedetto del Tronto. “The last match of Pasolini” starts from a pretext of a football game, to tell a historical period that was fundamental for the whole of Italy, with its contradictions and tragedies, through an apparently playful vision of Pasolini, but that allows us to understand better the importance of the Italian poet and director.

Set in 1940’s and 50’s Sicily (Paternò), we follow the fortunes of Rosetta from the time she’s twelve (Larissa Volpentesta) and living with her drunken father Leone (Harvey Keitel) – he’d turned to alcohol to forget Rosetta’s mother, Vipera (Elide Melli), after she ran away with a fascist some time ago. Little Rosetta’s fortunes turn for the worse when she’s raped and made pregnant by another former fascist (Giancarlo Giannini), and Leone also dies after falling from his bicycle. She’s sent to live in a convent until the age of twenty one, and her newborn child will cruelly be adopted out by her visiting mother.

Four stories about phobias, manias and other complexes.

The film chronicles the melancholy journey of two celebrity look-alikes chasing their dream of la dolce vita in Italy. Romanian Marilyn Monroe impersonator Ileana and Bulgarian Elvis double Nicolaj win a look-alike contest in Bucharest in which the prize is a summer engagement in a nightclub on Italy's Adriatic coast. The two strangers take off together, communicating in the broken Italian they picked up from TV. When a bureaucratic hitch with Ileana's passport cuts them off at the airport, they cross the border illegally by car, travelling through a part of Yugoslavia devastated by war. They accept hospitality at a military outpost, but the suicide of a colonel there casts suspicion on Ileana. Beaten and afraid, they continue their odyssey across the harsh sunless no-man's-land gradually scarring them both and clouding their hopes. They finally reach Italy, but all is not as promised.

The end of a love story, told in fourteen different styles: from comedy to western, from noir to thriller, silent movie and so on.

Marco is a judge investigating a case of arms trafficking, one of the judges to fight against corruption of Italian political life. Carla, his wife, lives dominated by the fear that her husband will be murdered and, unfortunately, her fears are realized. She decides to join a group of widows of judges to break the silence that has always protected the crimes of the Mafia, who always act in collusion with influential public figures. With the help of the group and the notes and documents of her husband, Carla produces a television documentary that endangers the lives of many people.

Francesca, an incredibly beautiful woman, after the death of her husband discovers his unfaithfulness and huge amount of debts he left. Cesare is Francesca's best friend, he is a solicitor. Following his advice Francesca starts selling all her goods, like the house, jewels, furs and finally also the yacht. By doing this she is able to survive for the rest of the year, but has no prospects for the future and every attempt to get a job fails. Finally she makes a decision to set up a lottery in which the prize is her.

Before finally entering the afterlife, the dead spend a period in a limbo from which they depart only when, among the living, there is no one who remembers them. Under the care of the salacious Domenico the visitors of a small cemetery recount how they arrived at eternal peace.

A struggling musician living in New York starts working at an Italian restaurant and falls in love with two women.

A coming-of-age story in which a young boy resists the adult world and the inevitable loss of the joys of childhood, while experiencing his sexual awakening during a summer vacation of an island.

Amelia and Pippo are reunited after several decades to perform their old music-hall act, imitating Fred Astaire and Ginger Rogers, on a TV variety show.

Rome, 1960. Four different people meet each other at the Olympics. They follow the games and become friends, talking about their sad lifes.

A couple arrive in an off-season Cesenatico but they quickly split up after a bad argument. The girl then settles in an uninhabited flat with a photographer she met before and with whom she has an affair. His ex gets kidnapped by three amateur robbers. Both stories end with a dramatic and grotesque epilogue.

Raoul has best chances to become next boxing champion in light-heavy weight. For a bet he tries to beat through a door with his bare fist. He wins the bet, but his hand is broken, his career ruined. He starts working on a fair; there he meets Hurricane Rosy the first time. When he sees her the next time, she's star of Mike Fernando's women wrestling show. They passionately fall in love, but their their love must survive her rising fame and his violent jealousy

American actress on vacation in Italy falls for her friend's married Italian lover.

Casanova is a libertine, collecting seductions and sexual feats. But he is really interested in someone, and is he really an interesting person? Is he really alive?

A detective is assigned to investigate the mysterious murders of some Supreme Court judges.

Pasolini parte da obra de Sade e revisita o episódio histórico da República de Salò para apresentar sua visão sobre o poder, a sexualidade, o conformismo e a juventude italiana dos anos 1970, em um filme de quatro partes: Ante-Inferno, Círculo das Manias, Círculo da Merda e uma última, Círculo de Sangue.

Capítulo final da trilogia de Pasolini inspirada em contos clássicos do erotismo, que se iniciou com "O Decameron" e "Os Contos de Canterbury." Aqui a história é centrada num jovem que se apaixona por uma escrava. Um homem começa uma viagem à procura de sua amante, uma bela escrava chamada Zumurrud, que foi raptada por um ser de olhos azuis. No caminho de sua longa busca, seu caminho vai cruzar com uma série de outros personagens envolvidos em traições, cobiças e desejos.

Segunda parte da Trilogia da Vida do aclamado diretor italiano Pier Paolo Pasolini, o longa é baseado nas obscenas histórias de Geoffrey Chaucer do século XIV. Mergulhando com prazer em alguns dos mais perversos e lascivos contos, Pasolini celebra de forma ardente quase toda forma imaginável de ato sexual com um humor rico, rude e visual mágico. Para completar, Pasolini faz uma representação de inferno que teria deixado Hieronymos Bosch orgulhoso.