Pier Paolo Pasolini's take on Marxism was always defiantly off-centre; ditto his take on religion.
Never more so than in his 1968 Theorem, where an enigmatic visitor (Terence Stamp) infiltrates an affluent Milanese family and seduces them one by one – father, mother, son, daughter and maid – before vanishing as mysteriously as he arrived.
Christ or Devil? Political allegory or religious fable? Scathing social comment or pretentious indulgence? The jury’s still out. But Pasolini creates an ethereal mood – and Stamp, smiling ineffably, has never been better.