Pier Paolo P꧟asolini'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 th🎃em 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&rs✨quo;s still out. But Pasolini creates an ethereal mood – and Stamp, smiling ineffably, has never been better.