The Flowers of St. Francis
Featured in conjunction with Easter celebrations, this program brings together three cinematic incarnations of Saint Francis of Assisi: Franco Zeffirelli portrays the revelations and rebellions of his youth, Roberto Rossellini crafts an ode to his simplicity and fraternity, and Pier Paolo Pasolini follows in his footsteps, summoning him to shape a political parable. These are just some of the fables where poetry awaits at a bend in the path, and wisdom is whispered by the birds. Our warmest thanks to John Drendel for this proposal.
In 1210, Pope Innocent III recognized the Franciscan order. Francis and his followers withdrew to a chapel near Assisi. They advocated absolute material poverty. This beautiful film was shot outdoors with real Franciscan monks.
Roberto Rossellini
Roberto Rossellini is one of the most influential directors in the history of Italian cinema, playing a key role in bringing it to international prominence with films like Rome, Open City (1945), Paisan (1946), and Germany, Year Zero (1948), cementing his place as a founding figure of neorealism. Born into a bourgeois Roman family, Rossellini grew up in a rich artistic and cultural environment. His father, who built Rome’s first cinema, exposed him to film from an early age, allowing him to attend countless screenings. After directing several short films, he made his first three features, The White Ship (1941), A Pilot Returns (1942), and The Man with a Cross (1943), collectively known as his Fascist Trilogy. Shot as the fascist regime was collapsing, Rome, Open City (1945) won the Grand Prize (Palme d’or) at the Cannes Film Festival in 1946. He followed with Paisan, featuring non-professional actors, and Germany, Year Zero (1948), which earned the Grand Prize and Best Screenplay Award at the Locarno Film Festival. In the late 1940s, a letter from Ingrid Bergman sparked a relationship that placed them in the public eye. Together, they collaborated on several films throughout the 1950s, beginning with Stromboli. Rossellini continued making films until the mid-1970s, shortly before his death.
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