Abstract
A strong atheistic resentment, together with a poetical gramscianism, do not prevent Pier Paolo Pasolini from his attempt of taking to the seventh art the fruit art of his deepest internal demons, namely, the question brings closer the sacred. A lucid reading of this phenomenon, along with an analysis of the chiaroscuro in Jesus Christ figure and its possible literary-cinematographic comparison, appears to be represented in this way in “Il Vangelo secondo Matteo” (1963). Under the light of some figures and key theories in anthropology –and philosophy– of religion, it will be tried to offer a possible reading of the controversial pasolinean film.
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