Salò o le 120 giornate di Sodoma AKA Salo, or the 120 Days of Sodom (1975) - Pier Paolo Pasolini

Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood.

I Racconti di Canterbury aka The Canterbury Tales (1972) - Pier Paolo Pasolini

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From sun-sparkled Naples to muddy medieval England for chapter two of Pier Paolo Pasolini's Trilogy of Life -- and with all the cornholing, golden showers, and silent-movie mugging Chaucer left out. The most amorphously anecdotal of the three, it's also the one where the discrepancy between the movies' notional life-affirmation and the brackish despairing of their execution emerges most grotesquely, every stab at "joyous" sexuality followed by the self-reflex of grotty degradation.

Il Fiore delle mille e una notte AKA Arabian Nights (1974) - Pier Paolo Pasolini

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The concluding part of Pier Paolo Pasolini's "Trilogy Of Life", following The Decameron and The Canterbury Tales, Arabian Nights corrects many of the mistakes found in the latter, noticeably its ramshackle, uneven approach, and returns to the charming territory of the former. Indeed, the film is as good as The Decameron, if not better, and is generally considered to be the trilogies crowning moment and one of Pasolini's finest films (critic Tony Rayns recently included it amongst his choices for Sight and Sound's 2002 Top Ten Critics' Poll).

Salò o le 120 giornate di Sodoma AKA Salò, or the120 Days of Sodom (1975) (HD) - Pier Paolo Pasolini

The notorious final film from Pier Paolo Pasolini, Salò, or The 120 Days of Sodom has been called nauseating, shocking, depraved, pornographic . . . It’s also a masterpiece. The controversial poet, novelist, and filmmaker’s transposition of the Marquis de Sade’s eighteenth-century opus of torture and degradation to Fascist Italy in 1944 remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in. (-Criterion)