Popularity: 3 (history)
Director: | Pier Paolo Pasolini |
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Writer: | Sergio Citti, Pupi Avati, Donatien Alphonse François de Sade, Pier Paolo Pasolini |
Staring: |
Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture. | |
Release Date: | Jan 10, 1976 |
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Director: | Pier Paolo Pasolini |
Writer: | Sergio Citti, Pupi Avati, Donatien Alphonse François de Sade, Pier Paolo Pasolini |
Genres: | Drama, Horror, War |
Keywords | christianity, philosophy, sexual abuse, based on novel or book, italian, fascism, world war ii, bishop, nazi, rage and hate, political instability, sadism, conflict, torture, taboo, evil, libertine, catholicism, political corruption, nazism, abuse, 1940s, coprophagia, power abuse, abuse of power, italian fascism, banned film, bold |
Production Companies | Les Productions Artistes Associés, PEA |
Box Office |
Revenue: $1,800,000
Budget: $800,000 |
Updates |
Updated: Jul 30, 2025 Entered: Mar 06, 2025 |
Name | Character |
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Paolo Bonacelli | The Duke |
Giorgio Cataldi | The Bishop |
Uberto 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 | Sergio - Male Victim |
Bruno Musso | Carlo Porro - Male Victim |
Antonio Orlando | Tonino - Male Victim |
Claudio Cicchetti | Male Victim |
Franco Merli | Male Victim |
Umberto Chessari | Male Victim |
Lamberto Book | Lamberto Gobbi - Male Victim |
Gaspare Di Jenno | Rino - Male Victim |
Giuliana Melis | Female Victim |
Faridah Malik | Fatimah - Female Victim |
Graziella Aniceto | Female Victim |
Renata Moar | Female Victim |
Dorit Henke | Doris - Female Victim |
Antiniska Nemour | Female Victim |
Benedetta Gaetani | Female Victim |
Olga Andreis | Eva - Female Victim |
Tatiana Mogilansky | Daughter |
Susanna Radaelli | Daughter |
Giuliana Orlandi | Daughter |
Liana Acquaviva | Daughter |
Rinaldo Missaglia | Guard |
Giuseppe Patruno | Guard |
Guido Galletti | Guard |
Efisio Etzi | Guard |
Claudio Troccoli | Collaborator |
Fabrizio Menichini | Collaborator |
Maurizio Valaguzza | Collaborator |
Ezio Manni | Collaborator |
Paola Pieracci | Wife |
Carla Terlizzi | Wife |
Anna Maria Dossena | Wife |
Anna Recchimuzzi | Wife |
Ines Pellegrini | The Slave Girl |
Marco Lucantoni | First Male Victim (uncredited) |
Dante Trazzi | Boys Recruiter (uncredited) |
Name | Job |
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Sergio Citti | Writer |
Danilo Donati | Costume Design |
Maurizio Forti | Administration |
Pupi Avati | Writer |
Ennio Morricone | Music, Music Consultant |
Maurice Blanchot | Thanks |
Pietro Innocenti | Administration |
Simone de Beauvoir | Thanks |
Pierre Klossowski | Thanks |
Emilio Bestetti | Camera Operator |
Giusy Bovino | Hairstylist |
Vanni Castellani | Costume Assistant |
Ugo De Rossi | Assistant Editor |
Beatrice Banfi | Script Supervisor |
Enzo Ocone | Post Production Coordinator |
Osvaldo Desideri | Set Decoration, Makeup Artist |
Massimo Anzellotti | Sound Effects Editor |
Alessandro Mattei | Production Supervisor |
Giorgio Loviscek | Sound |
Tonino Delli Colli | Director of Photography |
Antonio Girasante | Production Manager |
Alfredo Menchini | Assistant Editor |
Nico Naldini | Publicist |
Alfredo Tiberi | Special Effects, Makeup Artist |
Dante Ferretti | Production Design |
Roland Barthes | Thanks |
Philippe Sollers | Thanks |
Domenico Pasqua Di Bisceglie | Sound |
Donatien Alphonse François de Sade | Novel |
Giuseppina Sagliano | Boom Operator |
Pier Paolo Pasolini | Writer, Director |
Arnaldo Graziosi | Musician |
Maria Teresa Barbasso | Draughtsman |
Alberto Grimaldi | Presenter |
Fausto Ancillai | Sound Mixer |
Umberto Angelucci | First Assistant Director |
Fiorella Infascelli | Second Assistant Director |
Italo Tomassi | Painter |
Alberto De Stefanis | Unit Manager |
Deborah Imogen Beer | Still Photographer |
Angelo Zemella | Production Supervisor |
Giancarlo Granatelli | Second Assistant Camera |
Nino Baragli | Editor |
Carlo Tafani | Camera Operator |
Renzo David | Production Supervisor |
Sandro Battaglia | First Assistant Camera |
Name | Title |
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Antonio Girasante | Producer |
Alberto De Stefanis | Producer |
Alberto Grimaldi | Producer |
Organization | Category | Person |
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Popularity History
Year | Month | Avg | Max | Min |
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2024 | 4 | 26 | 40 | 17 |
2024 | 5 | 24 | 29 | 16 |
2024 | 6 | 24 | 35 | 16 |
2024 | 7 | 31 | 47 | 16 |
2024 | 8 | 27 | 43 | 19 |
2024 | 9 | 24 | 31 | 20 |
2024 | 10 | 30 | 56 | 23 |
2024 | 11 | 21 | 25 | 16 |
2024 | 12 | 33 | 68 | 18 |
2025 | 1 | 30 | 38 | 22 |
2025 | 2 | 21 | 35 | 4 |
2025 | 3 | 12 | 30 | 1 |
2025 | 4 | 4 | 5 | 3 |
2025 | 5 | 3 | 5 | 2 |
2025 | 6 | 3 | 4 | 2 |
2025 | 7 | 3 | 3 | 2 |
2025 | 8 | 3 | 4 | 2 |
2025 | 9 | 3 | 3 | 2 |
2025 | 10 | 3 | 3 | 3 |
Trending Position
Year | Month | High | Avg |
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2025 | 9 | 478 | 611 |
Year | Month | High | Avg |
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2025 | 8 | 559 | 750 |
Year | Month | High | Avg |
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2025 | 7 | 377 | 728 |
Year | Month | High | Avg |
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2025 | 6 | 246 | 474 |
Year | Month | High | Avg |
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2025 | 5 | 758 | 889 |
Year | Month | High | Avg |
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2025 | 4 | 855 | 917 |
Year | Month | High | Avg |
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2025 | 3 | 280 | 600 |
Well you have to hand it to Pier Paolo Pasolini - he had one hell of an imagination. Here he devises a story of a group of nine young men and women who are apprehended by four powerful Fascist officials and held captive for use in some of the most degrading and painful games of sex, humiliation and ... abuse. I was warned not to eat chocolate before I saw this, and towards the end of this bizarre depiction of cruelty, depravity and exploitation it became quite clear why - and I'd reiterate that here. There is something profoundly desperate about the film. It has nothing even vaguely redeeming about it. Is it allegorical? Perhaps Pasolini is swiping at what he perceived to be the beginning of the disposable culture? Perhaps the illustration of mankind at it's more obscene offers us his perspective on just what humanity had become by the mid 1970s? In any case, this is frankly rather a disgusting film to watch and though I did feel the ending had a great deal of suitable retribution to it, I still struggled to quite get my head around this epitome of man's inhumanity to their own kind. I doubt I shall ever watch it again, but it packed out the cinema in which I watched it and there was plenty of provocative conversation in the bar about it afterwards...
Wow! You can't escape the fact that this movie pushes the limits of disturbing art! Many will call it sick. I suspect the point of this film is more about the depravity and dehumanization of fascism, political corruption, totalitarianism, and morality. I have not read the Marquis de Sade's work on w ... hich this film was based. **It isn't possible to "un-see" a film, so be prepared if you choose the experience.** It was described to me as "horror" before I watched it, and I'm not sure it truly captures the film's genre. I can't think of a film genre that adequately describes it. I will probably never watch it again or forget the images it seared on my brain. But I was challenged to think about various political and societal themes that are still very relevant today.