Ferrara’s biopic offers Dafoe one of his finest roles. This is clutch material for the director, and the film feels assured, confident, but surprisingly safe. It opens by presenting scenes from 120 Days, suggesting it will investigate the darkness or hell that Pasolini will speak of in an intriguing interview. But the film is almost too well shot and acted. Everything feels pitch perfect. Ferrara’s rough edges have been smoothed out, there are no moments that either shock or disgust. Having said which, the film, set over the course of the day of Pasolini’s death, is educative, an effective introduction to the life of the Italian poet-cineaste.
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