The Gospel According to St. Matthew (1965)
Directed by Pier Paolo Pasolini
Along a rocky, barren coastline, Jesus begins teaching, primarily using parables. He attracts disciples; he's stern, brusque, and demanding. His parables often take on the powers that be, so he and his teachings come to the attention of the Pharisees, the chief priests, and elders. They conspire to have him arrested, beaten, tried, and crucified, just as he prophesied to his followers.
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What critics compared The Gospel According to St. Matthew to
What you wonât find in The Passion of the Christ is the formal purity of a film like Bressonâs Diary of a Country Priest or the documentary-style lyricism of Pasoliniâs The Gospel According to St. Matthew (or, for that matter, last fallâs superb The Gospel of John), but rather the color-saturated wide-screen cinematography, âimpactâ editing and amped-up digital soundtrack that are the calling cards of the high-end Hollywood studio picture.
Unlike Pier Paolo Pasolini’s The Gospel According to St. Matthew or Martin Scorsese’s The Last Temptation of Christ, the film doesn’t present Jesus as a fallible (or even three-dimensional) individual.
Why Has Bodhi-Dharma Left for the East? is proof positive, along with Michael Tolkin's The Rapture and Pasolini's The Gospel According to St. Matthew.
A Prophet gets a much-needed hint of ambiguity in the lead turn by Rahim, an earthy-looking non-pro who sometimes seems to be channeling Enrique Irazoqui 's lumpen prole Christ from The Gospel According to St. Matthew.
Similarly to The Gospel According to St. Matthew, also directed by a gay man, it�s difficult to tell from what�s on screen alone whether or not Sebastiane is celebrating the Saint or deriding the religion that chose him as an ideal.