The music... same as in the other two titles of Pasolini that I have seen. There was a boy playing an instrument all through the film. And this music ended the movie, with Medea going crazy.
Something of the camerawork I remember is faces that were out of focus, sometimes men's faces would be blurred in the eyes of Medea. This can show a perspective, how she didn't see Jason clearly for who he was.
The killing of children, although implied, wasn't shown. I think that makes it even more powerful, because in the last scene Medea, reversely, caresses her children, lovingly.
We see a sense of loss of her identity, first of all, because Medea doesn't even seem to realize how she kills her children. If we truly are put in her head, than everything is very chaotic, all over the place, all over the time. Guided by the strange music that a boy with her sons plays. Sometimes Medea will drift off, and then as she wakes up, we find out she has done something horrible, but not us, nor Medea, had any idea.
When the maids undress her from the black clothes and put white gown on her instead, making Medea look like them, there is a sense of repression. Now that I think about it, this sense of repression is present in other Pasolini films too.
It is also about how the repression breaks into a revolt. In Porcile, the boy is eaten by pigs, a repression replaced with extreme violence. Something similar in Oedipus Rex, where Oedipus destroys his eyes with metal sticks. As if throwing all anger and fear into one final move of hands. And the same happens here. The entire town is burning, the children are dead, and Medea is in the middle of all this with a black dress. Her repressed self has come through.
Something of the camerawork I remember is faces that were out of focus, sometimes men's faces would be blurred in the eyes of Medea. This can show a perspective, how she didn't see Jason clearly for who he was.
The killing of children, although implied, wasn't shown. I think that makes it even more powerful, because in the last scene Medea, reversely, caresses her children, lovingly.
We see a sense of loss of her identity, first of all, because Medea doesn't even seem to realize how she kills her children. If we truly are put in her head, than everything is very chaotic, all over the place, all over the time. Guided by the strange music that a boy with her sons plays. Sometimes Medea will drift off, and then as she wakes up, we find out she has done something horrible, but not us, nor Medea, had any idea.
When the maids undress her from the black clothes and put white gown on her instead, making Medea look like them, there is a sense of repression. Now that I think about it, this sense of repression is present in other Pasolini films too.
It is also about how the repression breaks into a revolt. In Porcile, the boy is eaten by pigs, a repression replaced with extreme violence. Something similar in Oedipus Rex, where Oedipus destroys his eyes with metal sticks. As if throwing all anger and fear into one final move of hands. And the same happens here. The entire town is burning, the children are dead, and Medea is in the middle of all this with a black dress. Her repressed self has come through.