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Il vangelo secondo Matteo

Pier Paolo Pasolini France, 1964

Matthew Martens's rating of the film The Gospel According to St. Matthew

A Cinema of Poetry, indeed. Pasolini's passion is a fever dream of atavistic, hallucinatory power, charged with wonder and menace, and maybe, just maybe, the promise of deliverance. Both Leone's dread tableaux and Jodorowksy's visionary travelogues find their source, it seems to me, in Pasolini's evocation of Jesus' world, and in his depiction of Christ as both harbinger of terrible justice and motherless child.