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Evangelium nach Matthäus

Il vangelo secondo Matteo

Frankreich, Italien, 1964

Darum geht's

Pasolini’s version of Matthew’s Gospel was shot in natural settings with non-professional actors, forsaking mythic grandeur in favor of a depiction that emphasizes the political radicalism of Christ’s life, and with a visual style that drew from documentary and Renaissance painting alike.

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Evangelium nach Matthäus Regie Pier Paolo Pasolini

Auszeichnungen & Festivals

Venice Film Festival

1964 | 2 Gewinne unter anderem: Special Jury Prize

Academy Awards

1967 | 3 Nominiert unter anderem: Best Art Direction-Set Decoration, Black-and-White

The affliction of Accatone, the pietàs of Mamma Roma, La Ricotta’s astringent vaudeville, all set-up for Pier Paolo Pasolini’s illumination of il Vangelo as a vérité interplay of radicals. The nonbeliever’s paradoxical “nostalgia for faith” exalts quotidian mysteries, the Holy Land is right there on Mediterranean shores, lumpy Basilicata peasants populate the pageantry.
April 06, 2015
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Now and again I watch a movie that doesn’t allow itself to be “just” a movie. And maybe it’s a film that’s nearly fifty years old, alluringly freed from market pressures, but still so incredibly current and relevant that it won’t let go… insisting on being understood through language, and thereby undeniably elevating itself into the so-called seventh art by the sheer force of creative, competent will. Pier Paolo Pasolini’s The Gospel According to Saint Matthew is one such film.
October 22, 2013
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Eclectic, albeit carefully chosen soundtrack selections emphasise the geographic and temporal reach of the material, as Bach’s ‘Mass In B Minor’ segues into Odetta’s wailing blues number ‘Sometimes I Feel Like A Motherless Child’ and the film even opens with Congolese tribal music. It’s a small but piercing touch, reminding the viewer that we can’t consider the biography of Christ without taking into account the specific time and place in which the events purportedly occurred.
February 28, 2013
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