Pier Paolo Pasolini was a celebrated poet, writer, and all-around intellectual, but it was his maverick, controversial filmmaking that distinguished him as an influential artistic force. The director's last film, 120 DAYS OF SODOM, an adaptation of the Marquis de Sade's 18th century novel, remains his most notorious (and most censored) due to its scenes of graphic rape and torture of adolescents. Pasolini relocates the novel's horrific abuses from France to the final days of Mussolini's reign, effectively rendering a grim portrait of the degradation of the human body and spirit beneath Fascist and Nazi rule.

DVD Features:

Keep Case
2-Disc Set
Widescreen 1.85
Audio:
Dolby Digital 1.0 - Italian
Subtitles - English - Optional
Additioanal Release Material:
Documentary - 1. END OF SALO
2. SALO: YESTERDAY AND TODAY
3. FADE TO BLACK
Interview - 1. Dante Ferretti, Set Designer
2. Jean-Pierre Gorin, Film Scholar
Trailers - Theatrical Trailer
Additional Product:
Booklet -

Distributor Notes: Pier Paolo Pasolini's notorious final film, Salò, or the 120 Days of Sodom, has been called nauseating, shocking, depraved, pornographic . . . it's also a masterpiece. The controversial poet, novelist, and filmmaker's transposition of the Marquis de Sade's 18th-century opus of torture and degradation to 1944 Fascist Italy remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.

Source: Image Entertainment Inc.

Paolo Bonacelli: Italian Actor/"Stecchino"

Pier Paolo Pasolini: Director/Writer/Theorist

Ennio Morricone: Italian composer, THE GOOD, THE BAD AND THE UGLY (1966)

"...[Pasolini's] most significant film....[Represents] the bitter, empty end."
4 stars out of 5 -- "[B]eneath the glacial cinematography and ornate tableaux writhes a terrifying warning about fascism, consumerism, violence and voyeurism..."
3 stars out of 5 -- "A disturbing, necessary film, this makes a fascinating contrast with the current 'torture porn' cycle..."
"Pasolini's last film remains profoundly disturbing, its ideas about the commodification of bodies...and the absolute corruption of power resonating far further than its setting..."