Salo Or The 120 Days - Of Sodom Qartulad Hot [better]
At first glance, Pier Paolo Pasolini’s Salò, or the 120 Days of Sodom (1975) seems the antithesis of anything resembling “lifestyle” or “entertainment.” A harrowing allegory of fascism, the film depicts the systematic sexual torture, degradation, and murder of teenage captives by four libertine masters in the Republic of Salò (1943–1945). Yet, to consider Salò “qartulad”—through a Georgian lens of lifestyle and entertainment—is not to impose the film onto Georgia, but rather to use its brutal structure as a mirror for examining how power, ritual, and hospitality can become monstrous. In Georgian culture, where the supra (feast) functions as a sacred social ceremony, and the tamada (toastmaster) wields rhetorical authority, Pasolini’s vision offers a disturbing parallel: the perversion of ritualized consumption into a theater of domination.
ფილმი შეიცავს უკიდურესად შეურაცხმყოფელ და ძალადობრივ კადრებს, რის გამოც მისი ნახვა მხოლოდ მტკიცე ფსიქიკის მქონე ზრდასრული მაყურებლისთვისაა რეკომენდებული.
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To understand why Salò exists, one must look past the graphic imagery to Pasolini's underlying message. Pasolini, a staunch Marxist and social critic, did not create the film to titillate or simply to shock. He used extreme degradation to illustrate how fascism and unchecked consumer capitalism reduce the human body to a mere commodity.
„სალო ანუ სოდომის 120 დღე“ არ არის ფილმი, რომელიც „უნდა ისიამოვნოთ“. ეს არის კინემატოგრაფიული დარტყმა, რომელიც გაიძულებთ დაფიქრდეთ იმაზე, თუ სადამდე შეიძლება მივიდეს ადამიანი, როდესაც მას შეუზღუდავი ძალაუფლება ეძლევა. პაზოლინი ამ ფილმის პრემიერიდან მალევე ტრაგიკულად მოკლეს, რამაც ამ სურათს კიდევ უფრო იდუმალი და მძიმე დატვირთვა შესძინა. At first glance, Pier Paolo Pasolini’s Salò, or
Four wealthy, corrupt Italian libertines—the Duke, the Magistrate, the Bishop, and the President—abduct nine teenage boys and nine teenage girls.
On Georgian Twitter (X) and TikTok, Salò has been unexpectedly memed. Clips of the piano-playing libertine or the infamous "Circle of Excrement" are often juxtaposed with peaceful footage of Batumi Boulevard or a khachapuri being pulled apart. This dark humor is a generational coping mechanism. Phrases like "ეს სალოშია" ("This is from Salò") are used to describe a bureaucratic nightmare or a particularly brutal winter. If you share with third parties, their policies apply
Traditional Georgian entertainment—the polyphonic song, the endless table of khachapuri and mwvadi , the choreographed sequence of toasts—operates on an unspoken contract of mutual respect. The tamada guides, but does not enslave; the guest is a king, not a victim. In Salò , Pasolini inverts this covenant. The libertines hold court in a neoclassical villa, issuing decrees with the same formal precision as a tamada proposing a toast. They establish a “Council of Presidents” (the four masters), a “Parliament of Whores” (the aging storytellers), and a “Circle of Disciples” (armed guards). Every act of violence follows a ritual: a wedding, a banquet, a piano recital. The infamous “Circle of Excrement” dinner—where victims are forced to eat feces while the masters dine on fine food—mimics the structure of a shared meal, but substitutes degradation for communion.
In Pasolini's view, the four libertines represent the absolute power of the state and ruling class. When power is absolute, the ruling elite can commodify everything—including the bodies, dignity, and lives of the youth. The film acts as a metaphors for how modern consumer culture strips individuals of their humanity, forcing them to consume what is destructive (symbolized literally in the infamous "Circle of Shit") and rendering them entirely powerless.
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An extreme, deeply challenging metaphorical exploration of absolute submission, forced consumption, and ultimate degradation.