Hervé Joubert-Laurencin's lecture presents several examples of the " infini " self-portrait offered by the work of Pier Paolo Pasolini. As a painter, he practiced self-portraiture with a mirror ; as a poet, letter-writer and man of letters in all its forms, including political and critical, he continued the art of self-portraiture through writing rather than indulging in a formally constituted autobiography. His experience of life, written, filmed and painted, was so singular, so systematic and so little egocentric or even egotistical, that it calls into question the very idea of the existence of a " autobiographical pact " among pure " autobiographes " like him, if not according to the counter-model of a pact with oneself.
As a filmmaker, he has recreated a second world using the faces, bodies and places in the real world of his friends and loved ones. Among the wide-ranging and significant migration of figures within his filmography, a kind of new secularized typology, is a striking example of a modern family story revolving around the man he loved and became, but this time with father and mother, the actor in his latest filmic trilogy known, precisely, as " de la vie ", Ninetto Davoli.
