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One Battle After Another: PTA and the Death of Revolutionary Cinema
Most directors become disillusioned by politics later in their lives. Especially the Italians. Just take Bertolucci or Pasolini, both committed Marxists and Catholics, who made radical films up until the 1970s. Then they pivoted, became more critical of both the left and the right. For Bertolucci, “he fell out of love with politics.” But for Pasolini, it was more personal, arguing that consumer capitalism destroyed class consciousness. Pasolini’s bleakest and most nihilistic political film was also his most infamous: Salò. It became well-known for its depravity, moreso than its political critique. And yet, two years before its release, Pasolini admitted
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