Exoticalot People are voting emotionally.

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

sotough To me, this is the greatest of all the movies by Pasolini. It is visually stunning. The house itself, in which this silent drama takes place, is aesthetically close to perfection. The actors are moving and subdued. If you read a bit about Pasolini, and about what he wanted to achieve and what he struggled with during his lifetime, "Teorema" will make sense as his perfect statement. It is politically charged in every way, investigating Pasolinis own background as a member of the Italian "bourgeoisie". The stranger is a kind of modern, diabolical creature - extremely polite, attractive and silent, and seemingly intellectually superior to the members of the family. One by one they fall prey to him, as he challenges the sexually repressive environment in which they live. I would not recommend this movie as a starter, if you haven't seen any of his movies you should probably start with his "Life"-trilogy, i.e. Canterbury Tales, Decamerone or Arabian Nights. If you already know this provocative director and you're looking for his masterpiece, though, this is it.

John Patrick Moore (jpm-onfocus) Watching Teorema for the first time in 2017 it gave me a chill by the influence this movie clearly had on one of my favorite films of all time "Apartment Zero" (1988) - I know "Apartment Zero" so well that at times it felt (felt is the operative word)I was in their same universe. They are both socio-political psycho sexual tales. Terence Stamp and Hart Bochner even look related to each other. Colin Firth represents a Country in decadence with a past of elegant pride, Massimo Girotti represents, for me, exactly the same things for different reasons in different ways but they are both seduceable in the eyes of the stranger. To think that Teorema was made in 1968 and Apartment Zero in 1988, boggles the mind. Mine anyway.

Jafar Iqbal A wealthy family welcome a strange visitor into their home. The Visitor (Terence Stamp) proceeds to seduce everyone in the family – mother, daughter, son, maid and father – before leaving a few days later. Once he leaves, each member of the family is unable to continue living the way they used to. Who was this mysterious man? Jesus? God? A master manipulator? I'll be honest, I've seen very little European New Wave cinema, and I've seen even less Italian cinema of any kind. I was hoping I'd hit the jackpot with this film, an Italian New Wave movie, starring the incomparable Terence Stamp and having quite an interesting story. But, annoyingly, I was wrong.There are some things to like about 'Teorema' but, for the most part, it's a lot of pretentious nonsense. The long drawn-out shot; the extended periods of time without any dialogue; the strange scenes where nothing relatively important or interesting seemed to happen. It was a film that was trying to be too clever.Now, I don't know, maybe I'm just not that educated on that cinematic style. Perhaps it requires a certain of technical film knowledge that I don't have. But, in my opinion, a good film is a good film, it shouldn't require a higher plane of understanding to be enjoyed. And I didn't enjoy it.There are some positives. Terence Stamp is typically brilliant as the lead – while I didn't like the extreme lack of dialogue, there's no denying that Stamp was able to say so much with just his facial expressions. Laura Betti, as the maid, is another standout performer and arguably it's highlight. Visually, too , the film is brilliant. I didn't understand some of the imagery, but the imagery was beautiful. 1960s Milan also looks amazing on screen.If the film's narrative was as enjoyable as the visuals of the movie, I'd have revered it as a classic. But it's too hard to understand at times, unnecessarily. I'd still argue that it's an important film to watch, just because it's a textbook (albeit unsuccessfully handled) example of European New Wave. Just a pity it couldn't be better.

Aditya Gokhale Pier Paolo Pasolini's "Teorema" had me dumbfounded! It was one of those rare instances where I was unable to formulate a clear opinion of what I thought about it. For one, this minimalist picture from the controversial filmmaker has "art-house" written all over it. Yes, there is extreme minimalism, very little dialog (it seems the number of actual spoken words in the film is about 923!). This almost silent film is allegorical…rife with symbolism and religious connotations, and may not be a very interesting subject matter for those looking at mainstream cinema, that is for sure! Terence Stamp is "The Visitor", a mysterious stranger who once visits the mansion of a rich family of four. The man of the house is Paolo, a rich businessman who owns a factory, and then there's his awkward son, a daughter, a beautiful wife who is sexually repressed and a scary-looking maid. In the next few days that pass, this visitor has sexual encounters with each of the inhabitants of the house! In a way, he "seduces" them. And almost as suddenly as he appears, he soon takes leave of them, leaving them in a state like never before! All of these people he "touched" exhibit marked changes in their lives, of a different level altogether! The "consequences" forms the crux of this strange film and paves way for detailed discussion! What makes Pasolini's film so important is the daring concept that Pasolini presents to his viewers with a script set in the contemporary world. From what I understand, The visitor is supposed to be a God-send or an angel who influences the members of the house in one way or another. Why "sexually" is a good question, but that depends on how you see it. Is it the touch of God, or the Devil's seduction? Perhaps it is symbolic of a "close encounter with God"? So what exactly does God do to these bourgeois individuals? Apparently he makes them see beyond their pretentious cocooned life. They all go through a self-realization phase, which they all confess one by one to the Visitor when it is time for him to leave. But he isn't there to see the changes. Are these changes always positive? Does being "blessed" always lead to happiness? Or is there another side to it? Pasolini, through his seemingly simple yet highly complex allegory poses these ambiguous questions, which likely polarized his audiences, based on their religious beliefs! Being an atheist I wasn't particularly offended or overwhelmed with the subject, but I was definitely intrigued by how drastically different this film and its viewpoint is! Pasolini's technique of story-telling is poetic! It is almost like Pasolini deliberately chose the visual style as exists in the film to give it a meditative form. Long takes, solitude, mostly gentle atmosphere, intermittent random scenes of a vast empty desert, the presence of a radiant light just before the visitor appears, all tactfully done! The visuals are also enchanting, the cinematography is beautiful, with the colours changing from sepia (in the beginning during the introduction of the characters, perhaps to show their 'ordinary' life?) to vividly colourful (a marked change with the introduction of the "visitor"?). It is then, mostly on the technical front and the handling of the film with its layered theme that makes "Teorema" most watchable.Where it falters is in some (only a couple or three) haphazard sequences here and there, and in the tepid acting from the actors playing the son and the daughter. I don't know if it was intentional but the daughter, Odetta (Anne Wiazemsky) who also appeared in Robert Bresson's "Au Hasard Balthazar" delivers what could be one of the most wooden acting performances I've seen! At one point it even becomes slightly apparent that she is reading her lines from cue cards!! The son, Pietro is played by Andrés José Cruz Soublette also seems somewhat awkward, but maybe his acting reflects his character who behaves like that owing to being a closeted homosexual! The finest acting then comes from Terence Stamp, even though he doesn't have much to do except give mysterious smiles once in a while and appear compassionate! A close second best actor in the film is the beautiful Silvana Magnano, the lady of the house. Her Lucia's perplexed state of mind is wonderfully portrayed by the actress. Also impressive is Laura Betti as Emilia, the maid. Laura looks and acts the weird Emilia quite earnestly.But how does one eventually evaluate and rate something as flummoxing as "Teorema"? Why is it even called that anyway? ('Teorema' means 'Theorem') There are views that the structure of the film itself and the psychological transformation of all characters follow a single formulaic structure! The film doesn't boast of great acting, neither is it an intimate character portrait. Not all characters are dug deep into. The subject matter is not what one would fall in love with, but it sure is extremely interesting! But in spite of this, there is something about "Teorema" that makes it worthwhile. While the visuals and the characters haunt your memory long after the film is over, the happenings in the narrative will give you something to ponder about. It is not a film one may go ga-ga about, but can one ever forget having watched "Teorema"? Hell, no! Score: 8/10.