Near the end of a candid 1966 documentary portrait of Pier Paolo Pasolini shot in 1966 (and shown last year on SBS), the French critic Jean-André Fieschi casually asks the Italian director whether art is for his a ‘matter of life and death’. Pasolini – who up to this point has been discoursing urbanely on class, culture, cinema and language like a true public intellectual – is floored by ...
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