23. The Canterbury Tales (1972)
Pier Paolo Pasolini may be a dangerous filmmaker, and by that I mean to mention that his works could also be characterized as brash, unafraid, and extreme. Adapting eight of the famous Canterbury Tales by Chaucer , the film has its base set amongst a few of pilgrims traveling to Canterbury, during a journey that’s absolutely mundane and boring, forcing them to inform stories to excite themselves. These stories are excessively erotic in nature, and translating that to film Pasolini-style easily makes tons of the visuals seemingly p0-rnographic in nature. Of course, the difference here is that the coherent structure and therefore the unwillingness to exhilarate the audience sensually (a trait in even the $e-xiest of the director’s films), but since the tales are particularly $e-xy themselves, there are little setbacks and corner-cuts thrown in, to speak the essence of those short retellings in their full. this is often one among Pasolini’s more simple watches, which isn’t saying much, because he never made easy films.