The article follows Pasolini’s break with the rules of classical film form in order to discover the filmmaker’s original production of meaning in his direction of the gaze and his inscription of figures in mental landscapes. That is why it focuses on The Gospel According to St. Matthews (Il Vangelo secondo Matteo, 1964), King Oedipus (Edipo re, 1967) and Theorem (Teorema, 1968), drawing on Badiou and Deleuze as the two main theoretical references. Following the roles that Pasolini played in his own films (painter, writer, director), the article questions the modes of the author’s inscription in the structure of their work as an original reflection on the creative process.

The integral version of this article can be found in the printed KINO!