Few films in cinema history have sparked as much outrage and controversy as this one.
While many films depict violence, depravity, and human suffering, this particular work rises above mere shock value to offer something far more disturbing.
Unlike horror films such as Cannibal Holocaust (1980) or A Serbian Film (2010), known primarily for their graphic content, this film confronts viewers with historical atrocities and unsettling philosophical questions.
Even critically acclaimed works like Schindler’s List (1993) and Requiem for a Dream (2000), both powerful in their portrayals of human pain, fall short of the unrelenting nihilism found in Pasolini’s adaptation of Marquis de Sade’s infamous novel.
The film’s impact on audiences is undeniable, leaving many viewers stunned by its relentless portrayal of abuse and dehumanization.
One viewer described it as “the most provocative and disturbing movie ever made in history.” Another remarked, “A movie so disgusting, it makes you question the director’s mental health and motivations.” A third issued a stark warning: “Please, for your own sake, don’t watch this movie. It’s truly disturbing.”
Since its release, critics have remained deeply divided. Some praise it as a bold masterpiece of political and philosophical cinema, while others condemn it as gratuitous and excessive. Roger Ebert famously refused to assign it a rating, stating, “This is not a film that can be judged by ordinary standards.”
Jonathan Rosenbaum of the Chicago Reader called it “one of the most profoundly disturbing films ever made, yet essential for understanding the depths of fascism.” In contrast, Vincent Canby of The New York Times dismissed it as “pointlessly grotesque, an experiment in shock that ultimately means nothing.”
Salò, or the 120 Days of Sodom (1975), directed by Pier Paolo Pasolini, is set against the backdrop of the final days of Mussolini’s fascist regime in northern Italy. The narrative follows four depraved libertines—figures of absolute authority—who abduct eighteen young men and women and subject them to a prolonged ordeal of physical, psychological, and sexual torment.
The film is structured in four segments, each inspired by a circle of Dante’s Inferno, with the horror intensifying as the story descends deeper into moral and human degradation.
Through this allegorical framework, Pasolini delivers a searing critique of authoritarian power, exposing how it annihilates individuality and corrupts the soul. His vision offers a bleak yet unflinching meditation on the mechanisms of control and the systematic erosion of human dignity under totalitarian rule.
Salò has been the subject of widespread controversy and censorship due to its explicit depictions of violence, sexual abuse, and sadism.
The film has faced bans or heavy censorship in numerous countries, including New Zealand, Canada, Italy, Norway, Sweden, and Germany. In the United Kingdom, it remained banned until 2000, while both Australia and New Zealand have lifted and reinstated bans multiple times over the years. Several Canadian provinces also restricted its distribution, and although there was no official nationwide ban in the United States, authorities seized copies of the film on several occasions.
Despite its notoriety, Salò is now accessible for purchase and streaming. The Criterion Collection offers a restored Blu-ray and DVD edition, and digital rentals are available through platforms such as Amazon Prime Video and Apple TV.
Watch the trailer for Salò here…
