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Francesco Rosi’s
CHRIST STOPPED AT EBOLI

DAILY (except SAT/SUN) 2:00   7:00

SAT APRIL 6 1:00   8:20

SUN APRIL 7 1:00   7:15

SAT/SUN APRIL 13/14 1:00   7:30

Wednesday, April 3 – Thursday, April 18

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U.S. premiere of the complete, uncut version

(1979) In 1935, painter/writer/doctor Carlo Levi (1902-1975) – played by the great Gian Maria Volontè (Rosi’s Lucky Luciano and Mattei Affair, Petri’s Investigation of a Citizen Under Suspicion, Melville’s Le Cercle Rouge, Leone bad guy, etc.) – exiled from Rome for “political activism,” leaves the train at Eboli (even Christ would go no further), and then goes even deeper into the instep of Italy’s boot, entering a world he never knew existed: the desperately poor town of Grassano (in recent years a tourist magnet), where the most desolate of landscapes exist side by side with ravishing natural beauty; a land with one car, one toilet; where love potions, curative coins, and spells are believed in side by side with Christianity – the drunken, studiously ignored priest denounces the locals as “donkeys, not Christians;” where cleaning lady Irene Papas (Guns of Navarone, Zorba the Greek) can decently enter his house only because she’s already had 17 children with 17 different men; and where, until Levi is allowed to practice himself, there are no competent, trusted doctors. And yet, as Levi lives among them, humanity starts to break through. Based on Levi’s best-selling 1945 memoir. Made for Italian television in four 55-minute parts, it was cut in half for its 1980 U.S. release (to 2 hours — Rosi’s own theatrical cut was 2½) and senselessly re-titled Eboli. This is the U.S. theatrical premiere of Rosi’s complete, uncut epic. DCP. Approx. 220 min, plus intermission.

A RIALTO PICTURES RELEASE

Reviews

“ACHINGLY BEAUTIFUL.”
– David Denby

“A secular miracle! The director’s masterpiece and a stunning introduction to his work.”
– Michael Sragow

“Best viewed as a meditation, not a conventional drama… An absorbing and sometimes stunningly beautiful movie with an impressive sense of historical detail and social insight.”
– David Sterritt

“I was completely absorbed… the audience seemed hushed, as if at a concert where the musicians were playing very softly.”
– Pauline Kael