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(out of series) Il Decameron (321 Lindley, Film Authors: Pier Paolo Pasolini)

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Il Trilogia della vita  begins with a scene of a debt collector (Franco Citti) beating someone to death. One might have thought that this should enough of a cue to make Pasolini’s Marxist critics of the 1970s realize that the trilogy doesn’t dream of an authentic undifferentiated world free of class conflict. Il Trilogia doesn’t celebrate life as a humanist value, it depicts life at a time before neoliberalism attempted to insert human bodies directly into chains of valuation. Pasolini analyzed the growing sexual permissiveness of neoliberal Italy as an attempt to turn all bodies into commodities, thereby mutating them into sources of profit for capital. Like the other films in the trilogy, Il Decameron carefully attends to various historical forms of economic circulation and depicts the sexualities that develop around them or beside them. Although in some of the tales center around advantageous marriage, feature prostitution, or narrate other…

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MANON KUBLER. PERIODISTA , ESCRITORA EN RETIRADA. A LA SAGA DE UNA NUEVA CRONICA. PREPARO MIS BALAS. EXPULSO MIS FUEGOS. AFINO MIS LLAGAS. AVANZO. ME DEMORO. VUELVO A AVANZAR. BUSCO ESTOMAGOS QUE SUJETEN TOXICOS Y EXTREMOS. AQUI ESTOY, A LA SAGA, VIVIA Y SOBREVIVIDA PARA LA ALEGRIA DE POCOS, SALUD MANON

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