In Fascist Italy in 1944, four wealthy noble men meet to discuss their
macabre plan, which will begin with the capture of nine young boys and
nine young girls from the nearby villages. With an army of
servants and four prostitutes, the four noblemen - a duke, a bishop, a
president and a judge - lock themselves away in a palace near to
Marzabotto in the Republic of Salò. The proceedings begin
with the noblemen marrying each other's daughters...
Script: Pier Paolo Pasolini, Pupi Avati, Sergio Citti, Marquis de Sade (novel)
Cinematographer: Tonino Delli Colli
Music: Ennio Morricone
Cast: Paolo Bonacelli (The Duke),
Giorgio Cataldi (The Bishop),
Umberto Paolo Quintavalle (The Magistrate),
Aldo Valletti (The President),
Caterina Boratto (Signora Castelli),
Elsa De Giorgi (Signora Maggi),
Hélène Surgère (Signora Vaccari),
Sonia Saviange (The Pianist),
Sergio Fascetti (Male Victim),
Bruno Musso (Male Victim),
Antonio Orlando (Male Victim),
Claudio Cicchetti (Male Victim),
Franco Merli (Male Victim),
Umberto Chessari (Male Victim),
Lamberto Book (Male Victim),
Gaspare Di Jenno (Male Victim),
Giuliana Melis (Female Victim),
Faridah Malik (Female Victim),
Graziella Aniceto (Female Victim),
Renata Moar (Female Victim)
Country: Italy / France
Language: Italian / French / German
Support: Color
Runtime: 116 min
Aka:Salò o le 120 giornate di Sodoma
The history of French cinema
From its birth in 1895, cinema has been an essential part of French culture. Now it is one of the most dynamic, versatile and important of the arts in France.
It was American film noir and pulp fiction that kick-started the craze for thrillers in 1950s France and made it one of the most popular and enduring genres.
In his letters to his friends and family, Franz Kafka gives us a rich self-portrait that is surprisingly upbeat, nor the angst-ridden soul we might expect.
The cinema of Japan is noteworthy for its purity, subtlety and visual impact. The films of Ozu, Mizoguchi and Kurosawa are sublime masterpieces of film poetry.