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"If you accept this film as a metaphor for the dehumanising effects of fascism and capitalism, as a film imbued with a genuinely nightmarish and fatalistic worldview, then I think it has its merits. And isn't the victims' apparent complicity in the crimes inflicted upon them - which the Time Out reviewer suggests points to "murkier motives" - a comment on how groups of people acquiesce in the face of their own exploitation? The sort of oppositional culture that modernist films like Salo represents is perhaps a last refuge for those who find much of popular culture oppressive in its one-dimensionality. When so much of it falls aesthetically, politically, etc in line with the dominant values, the Pasolini's of this world are vital."

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