Uma colagem de nove contos que retratam a Itália do século XIV com um realismo vibrante e sem preconceitos. As histórias variam de tramoias cômicas e eróticas a contos de tragédia e religiosidade. Entre os destaques estão o jovem que é enganado em Nápoles e acaba em um túmulo, a freira que descobre os prazeres da carne com um jardineiro "mudo", e o próprio Pasolini interpretando um discípulo do pintor Giotto, que observa a realidade ao seu redor para criar sua obra de arte. É uma obra que exalta a alegria de viver e o corpo humano em sua forma mais natural.
If you were ever to be in any doubt as to Pier Paolo Pasolini's scepticism of all things religious, then you won't be after this entertainingly surreal interpretation of Giovanni Boccaccio almost heretical 14th century novels. There are nine episodes here that deal with just about everything you would find in a dictionary of sin - fraud, lust, theft, more lust, murder, covetousness and yep - even more lust. A couple of the segments stood out for me. There's a deaf mute who manages to convince a convent of nuns that he an unique solution to many of their problems - and boy, are they keen. Then there are some rather ruthless grave robbers who don't care who's tomb they plunder. A priest who uses his ingenuity to have his wicked way with a parishioner's wife - whilst her husband holds the lantern and maybe my favourite that sees a girl's parents craftily arrange a marriage for their daughter after she's spent an erotic night on the terrace with her beau! It oozes satire pretty much throughout illustrating quite openly the hypocrisy of the church and of it's "employees: and very much exposing the do as I say not as I do mentality that prevailed not just in Italy, but pretty much throughout Europe at the time. It's not just the religious who get a pasting here, the aristocracy don't come off a great deal better as they try to use their money to buy some redemption down the line - much to the joy of the painters who have no such compunction. It has something of the medieval farce to it, and that can be hit or miss, but for the most part the underlying commentary from the director is well enough disguised in frippery and humanity to not look like a reverse indoctrination. We can readily laugh at multiple aspects of the plot simultaneously. Nudity abounds here with just as much camera adoration of the male body as the female, but usually that just adds to the humour of the stories rather than overtly sexualising them. It's maybe a little long, but it's quirky and the episodic nature of the presentation ensures there's certainly no time to get bored.
