Upon its release in 1975, Salò was banned in dozens of countries and sparked outrage for its graphic depiction of sexual violence, sadism, and coprophagia. However, to dismiss the film as exploitation is to ignore its rigorous formal structure. Pasolini, a Marxist intellectual and poet, adapted the film not to titillate, but to force the audience to confront the "banality of evil." The film posits that absolute power corrupts absolutely, and that the ultimate expression of fascism is the total subjugation of the body.
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Pasolini structures the film with clinical precision, dividing it into four segments that mirror Dante Alighieri’s Divine Comedy, though inverted to reflect a descent into Hell rather than a rise to Paradise: Upon its release in 1975, Salò was banned
Salò, or the 120 Days of Sodom is a "solid" film in the architectural sense—it is built like a fortress of despair. It is a poetic scream against the dehumanization of the 20th century. Pasolini’s murder shortly before the film’s release cemented its status as a testament to his worldview: that in a society governed by power without responsibility It is a poetic scream against the dehumanization
Warning: this film contains extreme depictions of sexual violence, torture, and degradation. What follows critically examines its themes, style, and cultural impact; readers should be forewarned.