Red Band Pasolini Trailer: Willem Dafoe is Pier Paolo Pasolini in Abel Ferrara’s Latest


The first trailer has been released for Pasolini, a film covering the final days of Italian filmmaker Pier Paolo Pasolini. Director Abel Ferrara (Bad Lieutenant, King of New York, The Addiction) places recent regular Willem Dafoe in the lead role, portraying the director of The Gospel According to St. Matthew and Salò, or the 120 Days of Sodom. Pasolini covers the last few days of the director’s life before he was murdered by a male prostitute. Although the prostitute confessed to the murder, there have always been doubts and rumours as to what really happened. The red band Pasolini trailer below is an international one, so be aware that some moments aren’t subtitled. This looks like a classy and respectful account on the director’s last days, and Dafoe looks to be putting in a strong turn. We’re very interested.

Pasolini will be screening at this year’s Toronto International Film Festival, followed by the New York Film Festival next month.

Excerpt from TIFF synopsis:

American director Abel Ferrara, another outlaw talent, has clearly found a soulmate in Pasolini. Starring Willem Dafoe, a dead ringer for Pasolini, Pasolini offers a kaleidoscopic view of the last day of the artist’s life, in 1975. Struggling with the censors as he is about to finish Salò, or the 120 Days of Sodom, pausing for an interview with a journalist that allows him to reflect on ideas of sex and politics, having lunch with his beloved mother with whom he shared a house, welcoming friends and former lovers — these are all moments that allow Ferrara to piece together the complex jigsaw puzzle that is Pasolini. And then, of course, there is his obsessive predilection for cruising the nocturnal streets of Rome in search of furtive sex.

Pasolini’s world has been meticulously researched, but in Ferrara’s hands this film is more than a sensitive reconstruction. He also draws from the new screenplay Pasolini had begun on at the time of his death and imagines what this work might have looked like. As the film moves towards that violent night on which Pasolini met his end, we comprehend the magnitude of the cultural loss that his death signified. Ferrara and Dafoe have done his legacy justice.