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Ro.Go.Pa.G.

Name: Ro.Go.Pa.G.
Director: Ugo Gregoretti, Jean-Luc Godard, Pier Paolo Pasolini, Roberto Rossellini
Released: 1963
Duration: 122 min

Representation Score

7.8/10

Good

1963

Not Rated

Director

Ugo Gregoretti, Jean-Luc Godard, Pier Paolo Pasolini, Roberto Rossellini

Runtime

122 minutes

Average Rating

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New Showbiz Analysis

Ro.Go.Pa.G. serves as a fragmented, postmodern reflection on 1960s Italy. Its strength lies in its intellectual subversion, using a high-profile directorial lineup to challenge bourgeois values and traditional narrative authority. The film effectively critiques institutions and gendered objectification. It uses satire to challenge the status quo and the homogenizing effects of modern consumerism. However, the work lacks diversity in terms of racial representation and disability. It also misses opportunities for explicit LGBTQ+ storytelling, focusing instead on broader social shifts and class dynamics.

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Category Breakdown

Does Ro.Go.Pa.G. have LGBTQ+ representation?

Fair

The anthology does not include explicit LGBTQ+ stories or clearly defined non-straight identities. Instead, it focuses on broader themes of sexual freedom and urban desires.

How does Ro.Go.Pa.G. portray gender?

Good

The film challenges traditional gender roles through satire and stylized romantic scenes. It critiques the objectification of women and presents more fluid gender dynamics.

How racially and ethnically diverse is Ro.Go.Pa.G.?

Limited

The setting centers on the Italian working class and urban life. While it explores underrepresented social identities, the cast lacks significant racial or non-Anglo-Saxon diversity.

How does Ro.Go.Pa.G. represent religion and culture?

Excellent

The film excels at criticizing consumerism and capitalist structures. It prioritizes depicting social fragmentation over traditional Christian or religious authority.

Does Ro.Go.Pa.G. include disability representation?

Limited

There is no meaningful or significant portrayal of physical or neurodivergent disabilities. The narrative focus remains on class, gender, and the psychological pressures of urban life.

Present on Screen

Intellectual subversion of Western bourgeois values and traditional social hierarchies.
Effective satire challenging the male gaze and objectification of women.
Profound exploration of the breakdown of traditional religious and family authority.

Limited or Absent

Lack of significant racial or non-Anglo-Saxon diversity within the cast.
Absence of meaningful or significant portrayals of physical or neurodivergent disabilities.
Minimal explicit representation of specific LGBTQ+ identities or narratives.

Official Synopsis

Four short films by four different directors dealing with the principles of modern life. "Illibatezza" (Rossellini): The hostess Anna Maria, to dissuade an aggressive suitor who prefers maternal tendencies, assumes an unscrupulous attitude, obeying the suggestions of her distant boyfriend. "The New World" (Godard): The deflagration of an atomic bomb causes strange effects on the inhabitants of a city. "La ricotta" (Pasolini): During the filming of a film about a religious subject, the extra Stracci dies hanging on the cross due to an indigestion of ricotta. "Il pollo spante" (Gregoretti): While an expert illustrates to a board of merchants the most modern techniques to increase sales through the discovery of the secret self of the average consumer, the human story of a bourgeois who, following these suggestions, focuses on the purchase of a plot of land in the countryside.

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