Povero Cristo

When the surrealism of the Film becomes indistinguishable from the miraculous nature of Scripture, actors wandering through locations reminiscent of De Chirico's nocturnes may encounter biblical doubles of themselves. Just as a religious film encounters its own double in a mix of Pilate-style poliziotteschi, at times reaching Felliniesque baroque excess, and naturally, the Pasoliniesque moment in the story of Jesus as "the greatest human story." After all, the rather intricate screenplay will please even an atheist, me personally more so than the otherwise much more famous, stylistically purer, and "more metaphysical" mentioned Gospel according to my favorite Marxist, Pasolini, who paradoxically approached the "updating" of the New Testament story much more conservatively than this film, which is unafraid to mix genres and timelines in a much more open synthesis. (15/05/2024)