On the 40th anniversary of Pier Paolo Pasolini’s (1922-1975) death, Pera Film in collaboration with the Italian Ministry of Foreign Affairs and the Italian Institute of Culture in Istanbul is organizing a film program commemorating him and his work. Pasolini, a filmmaker, a poet, a novelist, a playwright, a painter, a critic and intellectual, was not only one of Italy’s most prominent figures for much of his life, he remains that, but, more importantly, he is a figure who belongs to the world.
Pier Paolo Pasolini’s ability to simultaneously embrace conflicting philosophies—he was both a Catholic and a Marxist; modern-minded, openly gay; who looked to the distant past for inspiration and comfort. What he is best known for is undoubtedly his subversive body of film work. He was a student of the written word, and among his earliest movie jobs was writing additional dialogue for Federico Fellini’s Nights of Cabiria (1957). Soon he was directing his first film, Accattone (1961), a tale of street crime whose style and content greatly influenced the debut feature of his friend Bernardo Bertolucci, La commare secca (1962), for which Pasolini also supplied the original story. The outspoken and always political Pasolini’s films became increasingly scandalous—even, to some minds, blasphemous—from the gritty reimagining of the Christ story The Gospel According to St. Matthew (1964) to the bawdy medieval tales in his Trilogy of Life (1971–1974). Tragically, Pasolini was found brutally murdered weeks before the release of his final work, the grotesque, Marquis de Sade–derived Salò, or the 120 Days of Sodom (1975) provides a violent essay on Italy's Nazi-fascist past and still is one of the world’s most controversial films. Writer Ed Vulliamy, in his Guardian article meticulously remarks: “Pasolini had died, so history insists, as though in a scene from one of his films. ‘It is only at the point of death,’ Pasolini had said in 1967, ‘that our life, to that point ambiguous, undecipherable, suspended – acquires a meaning.’’’
This program’s screenings are free of admissions. Drop in, no reservations.
In collaboration
November 4
19:00 Accattone
November 6
19:00 Love Meetings
Love and Anger: The Sequence of the Paper Flower
21:00 The Grim Reaper
November 7
14:00 Oedipus Rex
16:00 The Hawks and the Sparrows
November 8
14:00 Mamma Roma
November 11
19:00 Accattone
November 12
19:00 The Gospel According to St. Matthew
November 13
17:00 Prophecy: Pasolini's Africa
19:00 Notes Towards an African Orestes
21:00 Oedipus Rex
November 14
14:00 The Rage of Pasolini
16:00 The Gospel According to St. Matthew
November 15
14:00 The Grim Reaper
17:00 Notes Towards an African Orestes
November 18
19:00 The Hawks and the Sparrows
November 21
12:00 Love Meetings
Love and Anger: The Sequence of the Paper Flower
14:00 The Rage of Pasolini
16:00 Prophecy: Pasolini's Africa
November 22
14:00 Mamma Roma
November 4
19:00 Accattone
November 6
19:00 Love Meetings
Love and Anger: The Sequence of the Paper Flower
21:00 The Grim Reaper
November 7
14:00 Oedipus Rex
16:00 The Hawks and the Sparrows
November 8
14:00 Mamma Roma
November 11
19:00 Accattone
November 12
19:00 The Gospel According to St. Matthew
November 13
17:00 Prophecy: Pasolini's Africa
19:00 Notes Towards an African Orestes
21:00 Oedipus Rex
November 14
14:00 The Rage of Pasolini
16:00 The Gospel According to St. Matthew
November 15
14:00 The Grim Reaper
17:00 Notes Towards an African Orestes
November 18
19:00 The Hawks and the Sparrows
November 21
12:00 Love Meetings
Love and Anger: The Sequence of the Paper Flower
14:00 The Rage of Pasolini
16:00 Prophecy: Pasolini's Africa
November 22
14:00 Mamma Roma
Program Trailer
Giacometti was selected for three important retrospectives at the New York Museum of Modern Art, the Tate Gallery in London and the Louisiana Museum of Art in Denmark, all of which were a great success.
Today we are thrilled to present the first playlist of Amrita Hepi’s Soothsayer Serenades series as part of the Notes for Tomorrow exhibition. The playlist titled Two-handed is presented by Kübra Uzun on Pera Museum’s Spotify account.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
Tuesday - Saturday 10:00 - 19:00
Friday 10:00 - 22:00
Sunday 12:00 - 18:00
The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 200 TL
Discounted: 100 TL
Groups: 150 TL (minimum 10 people)
