#margareth clémenti

[cinematicjourney]

Medea (1969) | dir. Pier Paolo Pasolini

[byneddiedingo]

Medea (Pier Paolo Pasolini, 1969)

Cast: Maria Callas, Massimo Girotti, Lauren Terzieff, Giuseppe Gentile, Margareth Clémenti, Paul Jabara. Screenplay: Pier Paolo Pasolini, based on a play by Euripedes. Cinematography: Ennio Guarnieri. Production design: Dante Ferretti. Costume design: Piero Tosi. Film editing: Nino Baragli.

Pier Paolo Pasolini's retelling of the story of Medea is a challenge to anyone who doesn't already know the story: Pasolini is not interested in conventional movie storytelling, so the film feels shapeless, lurching through some scenes and lingering through others until it ends almost abruptly. What he's interested in is crafting a vision of antiquity, of the age from which the myths and legends came, that's primitive and tribal, not at all the graceful world of marble gods and goddesses we've come to associate with ancient Greece. This is a world in which people scrabble for survival in bleak desert settings, filmed in Turkey and Syria. In Pasolini's film, the Argo, the ship that brings Jason and the Argonauts to Colchis in search of the Golden Fleece,  is a cobbled-together raft. The fleece itself is a somewhat ratty-looking ram's head with gilded horns. It's not exactly a film in which you'd expect to find a diva like Maria Callas, and yet her out-of-placeness somehow fits the character of Medea, a woman who would rise above almost any setting only to be dragged down by fate. 

[speakingparts]

PIERRE CLÉMENTI CINÉASTE - Positano (1969)

[tina-aumont]

Positano (Pierre Clémenti, 1969) screencaps published by the kind permission of Balthazar Clémenti, who holds the copyright. Please do not repost.

[thesorceresstemple]

Margareth Clémenti in Madea Dir. Pier Paulo Pasolini, 1969 costume by Puerto Tosi

[byneddiedingo]

Cast: Maria Callas, Massimo Girotti, Lauren Terzieff, Giuseppe Gentile, Margareth Clémenti, Paul Jabara. Screenplay: Pier Paolo Pasolini, based on a play by Euripedes. Cinematography: Ennio Guarnieri. Production design: Dante Ferretti. Costume design: Piero Tosi. Film editing: Nino Baragli.

Pier Paolo Pasolini's retelling of the story of Medea is a challenge to anyone who doesn't already know the story: Pasolini is not interested in conventional movie storytelling, so the film feels shapeless, lurching through some scenes and lingering through others until it ends almost abruptly. What he's interested in is crafting a vision of antiquity, of the age from which the myths and legends came, that's primitive and tribal, not at all the graceful world of marble gods and goddesses we've come to associate with ancient Greece. This is a world in which people scrabble for survival in bleak desert settings, filmed in Turkey and Syria. In Pasolini's film, the Argo, the ship that brings Jason and the Argonauts to Colchis in search of the Golden Fleece,  is a cobbled-together raft. The fleece itself is a somewhat ratty-looking ram's head with gilded horns. It's not exactly a film in which you'd expect to find a diva like Maria Callas, and yet her out-of-placeness somehow fits the character of Medea, a woman who would rise above almost any setting only to be dragged down by it. 

Medea (1969) Dir. Pier Paolo Pasolini

[novediscursos]

Positano, Pierre Clémenti

[erstwhile-punk-guerito]

[thisobscuredesireforbeauty]

Margareth Clémenti in: Fellini's Casanova, 1976. Source

[aloneandforsakenbyfateandbyman]

Margareth Clémenti in Medea (1969)

[flickjiffs]

Margareth Clémenti in Medea (1969)

[mus-muride]

Margareth Clémenti

[derekjarman]

Medea (Pier Paolo Pasolini, 1969)

[speakingparts]

PIERRE CLÉMENTI CINÉASTE - La Révolution n'est qu'un Début. Continuons Le Combat (1968)

[tina-aumont]

New Improved screencaps are coming!!

Positano (Pierre Clémenti, 1969) screencaps!

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. And it is of love that this film speaks above all, a total and solar love in which family and friends are seized in the same poetic field. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became in 1968 a meeting place for the underground community. Pierre Clémenti stays there for a while and makes images of dazzling sensuality. Beyond Pierre Clémenti’s intimate love of these faces and bodies often naked in this Mediterranean landscape, the film reveals the moving beauty of a utopia where living together could still be achieved in a territory of sharing and permanent creation. Flow of perceptions of consciousness, visual impressions, physical impregnations, the work of Pierre Clémenti is an ode to sensuality and “life-cinema”. For Clémenti, the main purpose of creation was to shake up the usual order of things by rubbing against the unknown. The act of creating would be “to be a virgin before the new, to do everything that one does as for the first time”. If Pierre Clémenti has never sounded his films-notebook life, it is because he has often preferred to confront the reality of live sound during his projections. Pierre Clémenti liked to share his works with his musical friends, to make projections of his films moments of life: they were often accompanied by sound performances.

With

Tina Aumont

Pierre Clémenti

Margareth Clémenti

Balthazar Clémenti

Philippe Garrel

Jean-Pierre Kalfon

Valérie Lagrange

Frédéric Pardo

Nico

Viva

The screencaps here are done by my dear friend Angelica @shiroitaka who has this beautiful instagram and have been published here by the kind permission of Balthazar Clémenti, who holds the copyright. Please do not repost elsewhere. Thank you very much.

[ozu-teapot]

Medea | Pier Paolo Pasolini | 1969

Margareth Clémenti