Pasolini’s approach to neorealism is so fascinating. The awkwardness of the non-professional actors makes you always be aware that you’re watching a movie, and this hyper-awareness makes even simple moments transcendental. My favorite sequences are probably the long shots of Anna Magnani walking in the dark and talking to different men.

This is by far the most straightforward Pasolini I’ve seen, the others being Teorema and Salò.