1 P.M. / $6 GENERAL / $5 SENIOR

– March 17ᵗʰ –

“ As a triumphant cinematic adaptation of an “unfilmable” work, it ranks with John Huston’s The Dead and Philip Kaufman’s The Unbearable Lightness of Being. It’s both faithful and inspired. The play of strong yet covert emotions with ideas that gain depth as the film goes on is as pleasurable and invigorating as bold and exhilarating action. ” – Michael Sragow, Film Comment

Carlo Levi (Gian Maria Volontè), a painter, writer, doctor, and intellectual, is exiled to Grassano, an impoverished town with only one car and one toilet, in southern Italy. Levi learns to find the humanity in this seemingly backward hamlet. 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. (source)

  • Best Foreign Language Film (BAFTA Awards, 1983)
  • Best Film and Best Director (David Di Donatello Awards, 1979)
  • Best Foreign Film (French Syndicate of Cinema Critics, 1981)
  • Golden Prize (Moscow International Film Festival, 1979)
  • Best Supporting Actress – Lea Massari (Italian Syndicate of Film Journalists, 1979)

“. . . A rare, truly special cinematic experience. The film is lyrical, unmannered, unflashy, intelligent, emotionally overwhelming.” – Carlos Valladares, Datebook (SF Chronicle)



Directed by Francesco Rosi

3 hours &
40 minutes

Italy | France



“ Based on a celebrated memoir by Carlo Levi, first published in the U.S. in 1964 and never out of print, it examines the more than a year the Italian writer spent in internal exile in the 1930s as an outspoken opponent of Mussolini’s fascist regime . . . One of the great treats of “Eboli” is its lyric, immersive character, the way it slows down and draws us into its world absolutely. This is a film that takes its time and is the better for it, that allows us to slowly sink into things, much as Levi himself does . . . like most great art, it speaks to our moment as well as its own. ” Los Angeles Times

“ Originally made for Italian television but cut down for theatrical release, the extended version of the film . . . is more attuned to the idea at the heart of the work: the difficulty of seeing, and the act of prolonged attention to things that might otherwise escape notice. It’s a long, slow, rich epic of the ordinary, taking time to dwell on the rhythms of rural life and on people left behind by their country. Its title refers to a saying that Levi heard repeated often in the South: everything below the town of Eboli was passed over, not just by God, but also “cut off from history and the State.” For Levi, Italy’s “Southern Question” is also a general inquiry into the relationship between those who hold power and those who could not even imagine exercising it. ” David Schurman Wallace, The New York Review of Books

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