The story follows a real life anti-fascist intellectual, Carlo Levi, into his forced exile in small, isolated village in a remote region of Southern Italy. The village is populated by inhabitants who barely survive on the meager harvest of the unyielding land. Eboli, the closest train station, is the last outpost of civilization (such as it is) before entering a world that has changed very little since the Middle Ages. The movie title, after the book written by Carlo Levi, expresses all the sense of abandon, neglect, desolation and human despair. According to the local tales, even Christ, in his southward journey, went no further than Eboli. Beyond that point, not even God dared (or could be bothered) to go… –IMDb
The films of Francesco Rosi stand as an urgent riposte to any proposal of aesthetic puritanism as a sine qua non of engaged filmmaking. From Salvatore Giuliano to Illustrious Corpses and Chronicle of a Death Foretold, he uses a mobilisation of the aesthetic potential of the cinema not to decorate his tales of corruption, complicity, and death, but to illuminate and interrogate the reverberations these events cause. If one quality were to be isolated as especially distinctive and characteristic it would have to be the sense of intellectual passion, of direction propelled by an impassioned sense of inquiry. This can be true in a quite literal way in Salvatore Giuliano, in which any “suspense” accruing to Giuliano’s death is put aside in favour of a search for another kind of knowledge; and The Mattei Affair, in which the soundtrack amasses evidence that is presented virtually in opposition to the images before us; or, in a more metaphoric sense, Christ Stopped at Eboli, which represents… read more
Posters for an essential retrospective in New York of the films of the great Italian chronicler of crime and punishment, Francesco Rosi.