Pier Paolo Pasolini 

A little over 100 years after his birth on 5 March 1922, we celebrate the poet-director through a selection of his masterpieces in a restored version.
“Pasolini had the strength to find, right from the first shot of his first work, his own cinematographic language, experimentation as a continuous working method, the need to constantly question himself. ACCATTONE seems to be four decades away from SALÒ; in the middle there are the Roman suburbs, the rewriting of the documentary, IL VANGELO SECONDO MATTEO, UCCELLACCI E UCCELLINI, films on the bourgeoisie, the reinvention of classicism, the TRILOGIA DELLA VITA… the discovery of Citti and Davoli, and then Totò, Magnani and Mangano, to whom he offers unique and unpublished roles, a new way of using music, places that cinema had never been able to look at, from Matera to Sana'a to the remains of classicism, a cinema of poetry which is also, always, a political, civil cinema that tackles the great knots of modernity. A filmmaker condemned, insulted, smeared from the first to the last film, today unanimously recognized as the artist who understood, decades in advance, the cultural genocide that was taking place in the face of everyone's silence.” (Gian Luca Farinelli)

“I have never «brought into the world» a film as disarmed, vulnerable, fragile and delicate as THE HAWKS AND THE SPARROWS. It not only doesn't look like my previous films, it doesn't look like any other film. I'm not talking about its originality - it would be stupidly presumptuous - but about its formula which is that of a fairy tale with its hidden meaning. A story that like all stories consists of a series of tests that the heroes must overcome. But unlike usual, they receive no reward for having overcome them: neither kingdom nor princess. Afterwards, they are left with only other tests to overcome. No fairy tale properly speaking ends like this. Also, from the point of view of the setting and the characters, mine is a "picaresque tale": the street-level experiences of two poor souls."
(«Cahiers du cinéma, n. 179, giugno 1966, p. 39)