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NEROLIO Pocas figuras en el cine han sido tan controversiales como la de Pier Paolo Pasolini, sea por su abierta homosexualidad, política (decididamente comunista) o anticlericalismo. Por las similaridades que su estilo naturalista tiene con la obra de Pasolini, el cine de Aurelio Grimaldi ha sido comparado con el de aquel afamado realizador. Tal vez por esto, o a pesar de ello, Grimaldi se ha dado a la tarea de regalarnos un puntilloso retrato ficcionalizado del encandilado Pasolini. Nerolio -- palabra creada por Grimaldi -- es un cruce entre "nero" o negro, y "petrolio" o petróleo (así se llama la última novela de Pasolini, que nunca terminó). La pantalla abre con Pasolini en un resort playero, a la caza de algún joven amante, y somos testigos de varios "ligues". Luego compartimos las entrevistas que un joven hace a Pasolini para documentar su tesis sobre la relación entre los escritos y el cine del realizador. Vemos cómo Pasolini cuida de su madre anciana, con quien vive. Y nos vamos acercando al inevitable fin de los eventos que ocasionaron su muerte. Entre fragmentos, escuchamos las ideas de Pasolini sobre la sensualidad, la iglesia y la sociedad moderna, que tanto escándalo ocasionaran en su día. Grimaldi edifica una estructura intrigante y novedosa a base de fragmentos que, sin embargo, logran proyectarnos la totalidad del ser de Pasolini. Sin ver al director "haciendo" sus películas, ni un solo fotograma de su obra, nos sentimos cómplices de Grimaldi al habernos colado en la intimidad del hombre que fuera Pasolini, con toda la fuerza de sus opiniones, y la crudeza de sus pasiones. |
NEROLIO Few personalities in the world of film have been as controversial as Pier Paolo Pasolini, whether for his blazing homosexuality, his extreme (and absolutely Communist) politics, or his fierce anticlerical views. Because of the similarities between his naturalistic style and that of the works of Pasolini, Aurelio Grimaldi's films have been compared to those of the famous, extinct master. Perhaps for that reason, or in spite of it, Grimaldi has taken on the challenge of regaling us with a punctilious, albeit fictionalized portrait of the scandal-ridden Pasolini. Nerolio -- word created by Grimaldi -- is a cross between "nero" (black) and "petrolio" (oil), the latter being the title of the last, unfinished novel by Pasolini. The first images are a seaside resort where Pasolini chases after some young lover, and we witness several of his pick-ups. The film then shifts gears, and we are interviewing Pasolini through a young man gathering support for his thesis on the links between Pasolini's writings and his films. As interludes, we see Pasolini sharing a home with, and looking after, his aging mother. And we drift to his inevitably violent end. Between these fragments, we hear Pasolini's ideas on sensuality, the church and modern living, which raised such scandal in his day. Grimaldi builds an intriguing and novel structure from fragmentary passages that, nonetheless, manage to capture the totality of Pasolini's being. Without actually watching Pasolini "at work" on his films, nor being shown any part of his films, we feel like accomplices of Grimaldi in having penetrated the intimacies of Pasolini the man, and come in contact with the full strength of his opinions, and the crude rawness of his passions. |
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Aurelio Grimaldi Nació en Sicilia en 1957. Además de cineasta, es autor de varios libros, entre ellos "Meri per sempre", "Storia de Enza" y "Palermo, Palermo", y varias obras de teatro como "PPP Vs. V". Sus otros largometrajes: "La dicesa di Acià a Floristella" (92), "El rebelde" (93) y "Las putas" (94). |
Aurelio Grimaldi Born in Sicily in 1957. His creation is not restricted to filmmaking, as he has authored several books, among them "Meri per sempre," "Storia de Enza" and "Palermo, Palermo," as well as several plays such as "PPP Vs. V." His other features: "La dicesa di Acià a Floristella" (92), "El rebelde" (93) and "Las putas" (94). |
Director: Aurelio Grimaldi |