ABSTRACT
The film is meaningfully an endless repetition of the number four. Four Lords, the libertines, representatives of all the Powers, gather in a villa along with four Hags, and a group of captured young people, the children of partisans and ordinary people, who are subject to four months of extreme violence, sadism, and sexual and mental torture. The Salo, a huge fresco on the anarchy of power and the loss of memory, differs from a technical point of view from most of P. Pasolini's films. He was known for chosing non-professional actors, and even when he used professional actors, he asked them not to play as professionals. The film was released posthumously, Pasolini having been tragically murdered just before the film came out. In Salo: as he himself said in several interviews, the film was edited while being shot and this required an almost obsessive precision in the shooting of several scenes.
