
A futura memoria: Pier Paolo Pasolini
1985

Representation Score
Good
2014
Not RatedDirector
Abel Ferrara
Runtime
87 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Abel Ferrara’s biopic is a deep exploration of identity politics using a queer, Marxist intellectual to challenge systemic norms. By focusing on Pasolini’s sexuality and his critique of capitalism, the film questions the stability of Western institutions. The film excels in its nuanced portrayal of queer ability to act and its critique of cultural homogenization. It successfully portrays the protagonist's personal life as an act of resistance against religious and state dogma. While the film lacks a diverse global cast, it compensates with a deep engagement with underrepresented social strata and post-colonial themes. It remains a progressive work that prioritizes intellectual and personal liberation.
Category Breakdown
The film features a queer protagonist whose sexual identity significantly influences his creative life. It also shows the challenges he faces in a society that assumes everyone is straight or cisgender.
The movie deconstructs traditional gender roles by focusing on a male protagonist who doesn't conform to typical gender norms. It highlights the importance of chosen relationships over traditional family structures.
The film studies an Italian intellectual but looks at the 'other' through a post-colonial perspective. It shows working-class individuals and those from underrepresented communities.
The story critiques Western institutions and consumer capitalism in a sophisticated manner. It explores the tension between personal freedom and oppressive state or religious authority.
The film does not include significant or central representations of visible or invisible disabilities.
Present on Screen
Limited or Absent
Official Synopsis
We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art are constantly refracted and intermingled to the point where they become one.

1985

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