Salò, or the 120 Days of Sodom (1975)
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Alexander McQueen for Dazed & Confused (2001) Photography: Norbert Schoerner
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Salò o le centoventi giornate di Sodoma - Pier Paolo Pasolini - 1975 - Italy
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“Salò” photographed by Norbert Schoerner for Dazed & Confused, September 2001
Art direction by Alexander McQueen
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Scans from Salo by Gary Indiana
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mursusaaga oli ehkä mielenkiintosin asia Suomessa 2022 vuonna ja mielestäni sellainen tilanne tarvitaan uudestaan ilman traagista loppua. täten julistan että aion "take one for the team" ja riehua Auranjoella, kaataa omenakärryn Turun torilla ja mennä onnibussilla Saloon missä nukahdan Plazan pihalle poliisien kanssa uhittelun jälkeen.
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Everybody asks me what’s my ideal wedding and well it’s actually just the disturbing marriage scene from Salo the 120 Days of Sodom.
Not the whole “sadistic aristocrats kidnapping and torturing youth” part but just the getting married in a silver silk dress with a matching floral headdress and bouquet in front of a bored nude audience in an Italian mansion/villa/castle while appearing grim and depressed. I feel like Pasolini was channeling Botticelli X Van Eyck for this film’s aesthetics.
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salò is a movie about cannibalism as a metaphor for love
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finally whacked out the third in this series of essays on salò and lolita which means we only have one(!!!) left before i am DONE making a point that is going to end up totaling around 25,000 words. here’s me talking about lolita as a cyclical text and a process of reanimation in which the reader becomes indicted, salò and dante and communist articulations of death, and What Does It Mean to call lolita a ghost story.
as with the predecessors, content warning for discussion of rape and pedophilia.
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