The problem with the art of Pier Paolo Pasolini, that is poetic if it is perhaps more symbolic or conceptual and even political (a literary symbolism itself: see the vital role - as explanatory - that takes the floor in his work!). If "Medea" is firstly a movie pictorial illustration, is "merely" like his "Oedipus Rex" and "The Gospel According to Saint Matthew" in images to a text of great richness Pasolini adds a second level sensitivity and submit the work to start in his vision, placing behind his characters and various sequences of the film ideas and a specific meaning (mainly by the nostalgia of the sacred in man facing an alienating modernity). This is where the concept, I even think that is where the awkwardness he seemed to detect in many of his films: the actors do not actually live, they remain relatively shallow, low their physics and the idea that they represent. Similarly, the film's structure is rather loose, not really controlled: some passages are very rich in meaning, and the rest is a bit of "dressing" to flesh it all. The beginning by example is beautiful, of perhaps one that Pasolini filmed more beautiful. But too often afterwards it occurred to me more to worry about the jingle of his costume, jabbering or ritual dances of his extras than the deep emotion of the film once the symbol brought. Let us be clear, Pasolini's works are rich and complex enough to escape any attempt at simplification. However I always found his films rather artificial and "cold", to any intellectual coldness, and I feel that this explains the lack of this species which is purely cinematic stuff of great masterpieces of the 7th art in my eyes ... But I can wrong (especially before even the shape it may actually be the background that bothers me), although he is "Medea" is well worth a look, especially since it offers plans beautiful colorful! Damage against some anachronisms that are disturbing the harmony of the feature, as these Japanese songs out of synch, especially implausible and inadvertently diverting the attention of the viewer ... The rest is probably one of the best films of its author! [2 / 4]
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