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  1. The Gospel According to St. Matthew (Italian: Il vangelo secondo Matteo, lit. 'The Gospel according to Matthew') is a 1964 epic biblical drama film in the Italian neorealist style, written and directed by Pier Paolo Pasolini. It is a cinematic rendition of the story of Jesus according to the Gospel of Matthew, from the Nativity ...

  2. The Gospel According to St. Matthew: Directed by Pier Paolo Pasolini. With Enrique Irazoqui, Margherita Caruso, Susanna Pasolini, Marcello Morante. The life of Jesus Christ according to the Gospel of Matthew.

    • (14K)
    • Biography, Drama, History
    • Pier Paolo Pasolini
    • 1965-03-03
  3. Il Vangelo secondo Mattei (Film) (opera prima) (The Gospel according to Mattei) di Antonio Andrisani, Pascal Zullino

  4. 26 ott 2017 · With Antonio Andrisani, Gigi Angiulli, Flavio Bucci, Mimmo Calopresti. A cinic director and his assistant come back to Basilicata. 50 years aged and aristically loser, they try to shoot a rickety investigative movie titled "The Gospel According to Mattei" in the same location where Pasolini filmed his "The Gospel According to St ...

    • (18)
    • Comedy
    • Antonio Andrisani, Pascal Zullino
    • 2017-10-26
  5. The Gospel According to St. Matthew is a film directed by Pier Paolo Pasolini with Enrique Irazoqui, Margherite Caruso, Marcello Morante, Luigi Barbini .... Year: 1964. Original title: Il Vangelo secondo Matteo. Synopsis: Along a rocky, barren coastline, Jesus begins teaching, primarily using parables.

    • (4,8K)
    • Tonino Delli Colli
    • 1964: Venice: Special Jury Prize
    • Italy
  6. The Gospel According to St. Matthew forgoes the pageantry of biblical epics in favor of a naturalistic retelling of the Christ story, achieving a respectful if not reverent interpretation...

    • (37)
    • History, Drama, Biography
  7. Kids & Up. MPAA Rating. NR. Caveat Spectator. Very mild passion-narrative dramatization. About These Ratings. Pier Paolo Pasolini was an atheist, indeed a Marxist, and his The Gospel According to Matthew is routinely interpreted as a proto-Marxist allegory.