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Pier Paolo Pasolini's take on Marxism was always defiantly off-centre; ditto his take on religion.
Never more so than in his 1968 Theorem , where an enigmatic visitor (Terence Stamp) infiltrates an affluent Milanese family and seduces them one by one – father, mother, son, daughter and maid – before vanishing as mysteriously as he arrived.
Christ or Devil? Political allegory or religious fable? Scathing social comment or pretentious indulgence? The jury’s still out. But Pasolini creates an ethereal mood – and Stamp, smiling ineffably, has never been better.
The director behind one of anime's most extraordinary films manages to completely subvert my expectations with latest coming-of-age adventure: "Having a secret was really important"
Steve Rogers gets his own Asgardian armor in this preview of his team up with Volstagg of the Warriors Three
Last of Us season 2's Abby joins the cast of Godzilla x Kong sequel
