Pier Paolo Pasolini’s “Theorem” is where mathematics and poetry meet; in rhythm, between heartbeats of the divine.
“Theorem” is a departure from the greater share of Pasolini’s filmography, which interchanges between the subproletariat ragazzi and the classical parable. “Theorem,” instead, centers around a bourgeoisie Milanese family that is visited by a beautiful stranger.
The mysterious figure, played by Terrence Stamp, is given little context other than that he is clearly an embodiment of the holy. He comes to each member of the family in their turn; receiving their benediction in the form of whispered frustrations and sexual congress.
Each of the family faces their own crisis of mundane mortality. With such comfort in their upper class, they are unable to…