Faces and close-ups in Pasolini’s Matthew

If you’ve seen as many Jesus movies as I have, then one of the things you cannot help but notice about Pier Paolo Pasolini’s The Gospel according to St. Matthew (1964) is its heavy use of close-ups.

Later films about Jesus used their fair share of close-ups, too, of course — partly because many of them were made for television, at a time when the average TV set was still quite small — but Pasolini’s film, which was one of the last great Jesus films to be made for the big screen, is particularly intense in this regard.

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