It's a mirror reflecting the worst of humanity. This film is a scream, not porn. It shows how power corrupts and turns people into objects. This is not a film to be taken lightly; it's an intense experience. The film is a surgical knife, cutting into the rotten core of power. Pasolini isn’t glorifying violence; he's using extreme visual language to indict: what monstrous faces will humans turn into when power loses supervision? The most depressing thing is not the cruel methods, but the "banality of evil" shown throughout the film. The powerful talk about art, philosophy, and poetry while perpetrating violence, and this contrast between extreme elegance and extreme filth makes the evil more shocking. It is a grand metaphor about "how people are alienated as objects", under the shell of fascism, is the deep despair of modern consumer society and power system. Shortly after the director finished this work, he was brutally murdered, which makes the film more like a will written in blood, and it stands in the forbidden zone of film history, forever warning the world: there is only a line between civilization and barbarism. Pasolini was a master, and this was his final film, a testament to his vision. Its legacy is one of both artistic achievement and cautionary tale. It forces you to confront the darkest aspects of the human condition. It's a heavy subject, but worth the dive if you are ready. 【电影介绍】 在一座被迷雾笼罩的意大利古堡里，留声机正悠扬地播放着钢琴曲，可墙壁后面却正发生着足以让灵魂冻结的惨剧。这不是一部可以轻松消遣的爆米花电影，而是世界影史上最令人谈之色变、也最具争议的禁片之首。皮埃尔·保罗·帕索里尼将萨德侯爵的文学原著移植到了二战末期法西斯垂死挣扎的萨罗共和国，在这片法外之地，四个代表着权力巅峰的男人——公爵、主教、法官和总统，开启了一场关于毁灭与凌辱的终极实验。 他们从民间强行搜刮来几十名面容姣好的年轻男女，将他们囚禁在与世隔绝的豪宅中。在这里，文明社会的法律、道德和廉耻被彻底抹杀，取而代之的是四人制定的荒诞“法典”。整部影片如同但丁的神曲一般，被严丝合缝地划分为欲望圈、粪尿圈和血圈。随着三个老妓女口中那些淫靡故事的层层推进，这群权势者开始用最冷静、最机械的方式，剥夺年轻人们作为人的最后一丝尊严，将他们一步步推向肉体与精神的双重深渊。 这并不是一场感官上的狂欢，而是一场极其压抑的慢性屠杀。帕索里尼用一种近乎残酷的客观镜头，记录下那些权贵如何将活生生的人异化成玩物、牲口甚至是排泄物的容器。你会在银幕上看到极度的优雅与极度的肮脏交织在一起，权贵们在施暴的间隙谈论着艺术与哲学，这种巨大的反差所带来的惊悚感，远比任何恐怖片里的尖叫都要来得深刻。 【观影点评】 看这部电影就像是在凝视深渊，而深渊也在冷冷地回望着你。很多人因为它极度压抑和重口味的内容而望而却步，但如果你能忍受住那种生理上的不适，你会发现它其实是一把最锋利的手术刀，精准地切开了权力的腐烂核心。帕索里尼并不是在宣扬恶行，他是在用极端的视听语言向世人呐喊：当权力失去监管且陷入疯狂，人类会变成怎样面目可憎的怪物。 最让人感到绝望的不是那些残忍的手段，而是整部影片展现出的那种冷漠的秩序感。施暴者们并非疯子，他们清醒、博学且彬彬有礼，这种“平庸之恶”才是最令人胆寒的地方。它是一部关于人如何被彻底物化的宏大隐喻，在法西斯主义的外壳下，包裹着导演对现代消费社会和权力体系的深层绝望。他把人性中最阴暗的角落翻开给你看，逼着你去思考尊严的边界在哪里。 导演在完成这部作品后不久便惨遭杀害，这让影片更像是一份用鲜血写就的政治遗嘱。它绝非为了感官刺激而存在，而是一座矗立在电影史禁区里的警示碑。它用一种近乎自毁的方式提醒着每一个观众：文明与野蛮之间其实只有一线之隔，而那道防线往往比我们想象的要脆弱得多。如果你想挑战自己对电影认知的极限，这或许是你必须跨越的一座险峰。