The art direction is superb. Every footage is a complete picture. Great acting. I'm not Catholic so that I couldn't fully understand/empathise the context behind it. I know Stamp is the stranger, but I am confused because seems like there are so much protagonists at once.

It's kind of hard to like or dislike this film, it's filled with so much ambiguity (contributed by very scares dialogs) that i think i should sleep on it and maybe see it again in a few month. None the less the movie is well made, the story is interesting and we're identifying with the people in it when they go through hard times. I find that the whole movie is done in a very 'cold' style (i'd say resembles Le Samurai) and it's appealing to me

Some compelling ideas, but ultimately too artsy for its own good.

In fact, The Visitor never seduces anyone. All five characters seduce him, one by one. This is a crucial difference.

Un ritratto accurato della borghesia italiana negli anni '60 con tutte le sue ipocrisie e segreti.

Originally, Jerry Lewis was to be cast in the Terrence Stamp role but there were scheduling conflicts, having already been signed onboard the movie "Chiacchierone" The rest is history.

A youthful Terence Stamp showcases the Italian art of sprezzatura in this slow, seductive drama from Pier Paolo Pasolini. Much of the first half of the film is made up of suggestive page-turning and opportunistic sexual encounters, both of which form part of a wider commentary on the mysteries of allure and the animalistic nature of attraction. Later, Theorem begins to spiral towards prophetic tragedy, charting the collateral damage of lost lust and leftover heartbreak. In some cases, the film touches upon the pain of wrestling with one's identity and sexuality. In others, it explores the psychological repercussions of a life-changing romantic encounter, gone and lost forever. Theorem is one of Pasolini's deepest, most poetic works, hellbent on exploring the links between love and insanity. The film is let down only by its need for more wing-flapping appearances from Ninetto Davoli.

Teorema is a fascinating experiment in visual storytelling, using striking colors and disturbing imagery to detail the collapse of faith and masculinity.

A high art film by Pier Paolo Pasolini, an eccentric Italian genius from the Friuli region in northeastern Italy. This film is very abstract and should be despised by the audience. If it is understood, it can be appreciated as a brilliant film, similar to Kubrick's 2001. Terence Stamp's "The Visitor" character is a Christ-like character visiting a bourgeois Milanese home. His sexual interactions with each member of the family trigger their ability to achieve their life ambition, goal, desire. After their individual achievements, they find themselves in the "desert" of life, since they no longer have anything to strive for. The scene of the housekeeper levitating in crucifix position over the village is particularly spine-tingling and memorable.

I don't know but everytime I watch this movie I fell in love again. Stamps trivial face as the stranger that invades the life of a typical bourgeois family in Milan is unforgettable. The film is a life changing experience, as Pasolini intended to.

Although Theorem operates on a fairly simple premise, the implications of its story are fascinatingly far-reaching. Bourgeois life is empty, especially so for the family the film centers around, until a stranger comes into their lives and upsets their stagnant existence. They all search for fulfillment after being waken up, looking for meaning through several different outlets (religion, sex, rebirth, creative expression), and none of them truly find the lasting enlightenment they're so desperate for aside from a maid's brush with the divine. None of these people are entirely correct in their attempts at finding purpose, the intersection of sexual desire and socio-political theory exposed as unknowable in a world where the constant drive for perfection is paramount, presenting a paradox that leaves humankind in the limbo Pasolini portrays here.

What you get out of Teorema will largely be based on your appreciation of it as art and how it challenged in its time. Teorema is more film-based art than an art house film (which I often rate up). As a film, I found Teorema to be tedious and unnatural / contrived and rate it down. Could easily see a contemporary art lover going the opposite way and rating it up.

It seemed like the kind of movie that tried to be really intellectual and that people say they enjoy just to feel intellectual, but it was honestly a waste of 98 minutes. The symbolism was odd and not particularly profound. Would not recommend.

Logic is replaced by motion picture

I haven't seen too many Pasolini films (The Gospel According to St. Matthew, The Decameron) and this one is certainly a lot more puzzling than the others. Terence Stamp plays a mysterious "Visitor" who arrives at the bourgeois home of a factory owner and his family and proceeds to seduce each of them (maid, son, mother, daughter, father). Stamp is eroticized by the camera and the scenes unfold with little or no dialogue. In fact, the film itself is full of heightened but plain images and little clear narrative structure. After Stamp departs, each of the seduced characters changes. Vincent Canby (of the New York Times) suggests that they each experience a sort of "collapse" (seeking to recreate the sexual experience with others or withdrawing into themselves or into art). The maid becomes a sort of holy saint herself, which has led other reviewers to suggest that Stamp plays a reincarnation of Jesus or another god-like manifestation. The factory owner gives away his factory to the workers -- either a Christian or Marxist act (forshadowed in the film's odd opening). Since Pasolini himself was a gay Marxist Catholic, interweaving these three themes into a puzzle film seems likely to have been his theorem. More might be imparted by another viewing.

Although Pasolini's thoughts are known in social-politic topics, This film make us feel the empty one of "bourgeoisie"in a constant search of of spiritualism, beauty and union.

After my bittersweet reaction towards Pasolini's TRILOGY OF LIFE (1971-1974), I tend to be a little heedful to wade into his canon, so not until vaguely 6 years after, I find a chance to watch his another work of indecipherable philosophy, THEOREM, which is introduced by a wobbly-shot interview in front of a factory and then segues with a silent canto under sepia tint, flickeringly introduces the family members of the story to be told. The father (Girotti) is the factory owner, with his wife (Mangano), daughter (Wiazemsky), son (Soublette) and the maid (Betty) lives in a stately mansion, one day, arrives a young visitor (Stamp), whose occult charisma and amiable endowment are too glaring to resist, and one after another he seduces all the family members (starts with the maid and ends with the patriarch), then he leaves, but his benedictory actions precipitate the ripple effects which alter everyone's mindset. The maid suddenly acquires an ability to cure and even conducts Ascension-like behavior; the daughter suffers from lovesickness and the son gets burgeoning inspiration for his art but also feels being enfettered; the matriarch constantly scouts out young boys for carnal pleasure and the patriarch starts to haunt himself with utter nudism. It's hard to conceive what's behind all these esoteric metaphysics after just watched the film once, but it is hardly an engaging one to invite immediate revisiting. To dissect a Pasolini's film, its religious overtones are the elephant in the room, is Stamp the God himself or a godsend messenger to endow this quintet with his pansexuality? Another contentious part is how to read the aftermath? Among those five people, only the maid belongs to a lower class, but it is her, seems to possess a supernatural gift eventually, while the bourgeois family is entrapped in respective shackles and the ending shows no way out for any of them. It can be interpreted as a lash on the decaying middle class, only the poor and the proletarians are the beneficiaries from God's gift. Morricone's accompanying score alters from eerie ambient to rich concerto, plus Mozart's Requiem, stratifies the film's mythical layers of causes and effects. Stamp's sex appeal has been magnified to the maximum with a contentious camera faithfully captures his congeniality and deadly smile. Betty is a standout among the recipients, gives an intent thousand-yard stare in her hallowed supremacy. By comparison bigger names like Mangano and Girotti never fully register too much into their slightly hollow revelations, maybe it is all intentionally disposed, and Pasolini remains to be an ineffaceable enigma to me.

Pasolini's exceptional movie "Teorema", does feature all the consequential elements that all movies shall obtain .In fact all the imaginaries that the movie provide are developed to a high degree of complexity and are beyond the doubt one of the most convoluted imaginaries I have ever seen . Pasolini demonstrates his vividness behind the camera and carefully masterminds his most meaningful picture that provides all powerful meanings that center on religion and other meanings that involve god and goddesses .

You may not understand it, but Pasolini's "Teorema" is a unique and spellbound film, laced with underlining themes about god, spirituality and artistic expression. It is beautifully filmed and the bleek atmosphere sets the tone for the entire film. This is a film that will stay with you for a few days and will definitely leave you asking questions.

A fine allegory by P.P.P. The holy italian family is deconstructed and has their inner desires brought to the surface by a charming and beautiful visitor who, to quote Jodorowsky, fock all the person. Then their life is never the same. Does it matter? Was it really that much of a change? Are they doomed? Or are they liberated? It's really up to the viewer to decide.