Pier Paolo Pasolini, 1972
really rather enjoyable, happy, quite sweet bawdiness
use of the peasant style Flemish school tableaus, out of knowehere a startlingly good shot
reinforces purity of the sexual nature, clear in the mis-en-scene
usual fast moves from master shots to longer close-ups (not too extreme here)
Pasolini frequently uses a grey, dull backdrop and bright, expansive costume
shows ritualistic nature, makes all primitive again
strange connection to Herzog; makes subjects idiotic, and gnomically wise, but showing the absurdity of such juxtapositons in straight to camera close ups
narrative floats about, sense of celebration, not really going anywhere
good fun, sweet, arresting images
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