Accattone

Pier Paolo Pasolini’s first feature film is, on the surface, another example of Italian neo-realism, a form that dominated in postwar Italy for decades because of the relative poverty of the industry necessitating minimalized physical productions, but it also appears to be one of those that was heavily political, taking on a main character who never works, living off the labor of another, and is so morally corrupt that he’s a joke on the lower end of the criminal world of Rome. Yeah, he feel...