Ebola virus disease (EVD or Ebola) is a rare but severe illness in humans People get infected with Ebola by touching: Ebola enters the body through cuts in the skin or when touching one’s eyes Some types of Ebola can be prevented with vaccines and treated with medicines The symptoms of Ebola infection can be sudden and include fever The time from when someone gets infected to having symptoms is usually from 2 to 21 days A person with Ebola can only spread the disease once they have symptoms People can spread Ebola for as long as their body contains the virus some people may have symptoms for 2 years or longer People should speak to a healthcare professional if they have: People with symptoms of Ebola should get medical care immediately Early care improves a person's chances of surviving Ebola Treatment includes oral or intravenous fluids and medicines provided in the hospital It is not safe to care for people with Ebola at home because the person may make other people sick they will not receive the same level of care they can get from professionals There is an effective vaccine for the Zaire type of Ebola which is mostly found in Guinea and the Democratic Republic of the Congo These antibody medicines are given intravenously and increase the chances of survival Research is ongoing to find vaccines and treatments for other types of Ebola supportive treatments save lives and include the following: People can protect themselves from getting Ebola by: Ebola disease (EBOD) is a rare but severe illness in humans (1) Ebola disease is caused by viruses that belong to the Orthoebolavirus genus of the filoviridae family (2) Six species of Orthoebolaviruses have been identified to date with three known to cause large outbreaks: Ebola disease first occurred in 1976 in two simultaneous outbreaks: one outbreak was of Sudan virus disease in Nzara in what is now South Sudan and the other outbreak was of Ebola virus disease in Yambuku in what is now the Democratic Republic of the Congo The latter occurred in a village near the Ebola River While there are licensed vaccines and therapeutics for Ebola virus disease there is no approved vaccine or treatment for other Ebola diseases Early intensive supportive care including rehydration and treatment of specific symptoms It is thought that fruit bats of the Pteropodidae family are natural hosts of the Orthoebolavirus The virus can get into the human population when people have close contact with the blood organs or other bodily fluids of infected animals such as fruit bats forest antelope or porcupines found ill or dead or in the rainforest People can get infected with the virus from another person by direct contact (through broken skin or mucous membranes) with: People cannot transmit the disease before they have symptoms and they remain infectious as long as their blood contains the virus Health and care workers have frequently been infected while treating patients with Ebola disease This occurs through close contact with patients when infection control precautions are not strictly practiced Burial ceremonies that involve direct contact with the body of a person who has died can also contribute to the transmission of Ebola disease The incubation period or interval from infection to onset of symptoms varies from 2 to 21 days The symptoms of Ebola disease can be sudden and include fever and symptoms of impaired kidney and liver functions It is important for health and care workers to be on the lookout for these symptoms Despite a perception that bleeding is a common symptom this is less frequent and can occur later in the disease Some patients may develop internal and external bleeding Bleeding at the sites where needles have punctured the skin can also occur The impact on the central nervous system can result in confusion It can be difficult to clinically distinguish Ebola disease from other infectious diseases such as malaria meningitis and other viral haemorrhagic fevers because symptoms at early stage of the disease are similar Confirmation that the person has an Orthoebolavirus infection is made using the following diagnostic methods: Samples collected from patients are an extreme biohazard risk; laboratory testing on non-inactivated samples should be conducted under maximum biological containment conditions. All non-inactivated biological specimens should be packaged using the triple packaging system when transported nationally and internationally See Diagnostic testing for Ebola and Marburg diseases Over the years, WHO and partners have developed guidance and training that outline how to provide the best possible care for patients and increase their chance of survival whether or not specific treatments are being used this covers the relevant tests to administer nutrition and co-infections (such as malaria) and other approaches that put the patient on the best path to recovery Community engagement is key to successfully controlling any outbreak Outbreak control relies on using a range of interventions infection prevention and control in health facilities vaccination (only for Ebola virus disease) and social mobilization Raising awareness of risk factors and protective measures that individuals can take is an effective way to reduce human transmission Risk reduction messaging should focus on several factors: Health-care workers should always take standard precautions when caring for patients use of personal protective equipment (to block splashes or other contact with infected materials) safe injection practices and safe and dignified burial practices Samples taken from humans and animals for investigation of Orthoebolavirus infection should be handled by trained staff and processed in suitably equipped laboratories All survivors, their partners and families should be shown respect, dignity and compassion. WHO does not recommend isolation of recovered patients whose blood has tested negative for Orthoebolavirus. Survivors might suffer from both clinical and psychological sequelae. WHO encourages affected countries to consider the establishment of care programme to alleviate sequelae Orthoebolaviruses are known to persist in immune-privileged sites in some people who have recovered Relapse-symptomatic illness in the absence of re-infection in someone who has recovered from Ebola disease is rare but has been documented Reasons for this phenomenon are not yet fully understood Ebola virus transmission via infected semen has been documented up to fifteen months after clinical recovery a semen testing programme should be implemented to: In the absence of a semen testing programme male survivors should follow safer sex practices for 12 months Orthoebolavirus may persist in the placenta amniotic fluid and fetus of women infected while pregnant and in the breast milk of breastfeeding women who are infected with the virus Survivor care programmes should encompass care for pregnant and breastfeeding women after their recovery.   WHO works with countries to prevent Ebola outbreaks by maintaining surveillance and supporting at-risk countries to develop preparedness plans. The following document provides overall guidance for control of Ebola and Marburg virus outbreaks: Ebola and Marburg virus disease epidemics: preparedness, alert, control, and evaluation WHO responds by supporting outbreak response and training and assistance with safe and dignified burial practices Samples collected from patients are an extreme biohazard risk; laboratory testing on non-inactivated samples should be conducted under maximum biological containment conditions. All non-inactivated biological specimens should be packaged using the triple packaging system when transported nationally and internationally See Diagnostic testing for Ebola and Marburg diseases Over the years, WHO and partners have developed guidance and training that outline how to provide the best possible care for patients and increase their chance of survival Health-care workers should always take standard precautions when caring for patients Health-care workers caring for patients with suspected or confirmed Ebola disease should apply extra infection control measures to prevent contact with the patients’ blood and body fluids and contaminated surfaces or materials such as clothing and bedding. Infection prevention and control guideline for Ebola and Marburg diseases All survivors, their partners and families should be shown respect, dignity and compassion. WHO does not recommend isolation of recovered patients whose blood has tested negative for Orthoebolavirus. Survivors might suffer from both clinical and psychological sequelae. WHO encourages affected countries to consider the establishment of care programme to alleviate sequelae WHO works with countries to prevent Ebola outbreaks by maintaining surveillance and supporting at-risk countries to develop preparedness plans. The following document provides overall guidance for control of Ebola and Marburg virus outbreaks: Ebola and Marburg virus disease epidemics: preparedness, alert, control, and evaluation Recent release “The Boss in the Shadows: The Life and Death of Thomas ‘Tommy Ryan’ Eboli” from Newman Springs Publishing authors Xavier Eboli and Robert Cassidy is a fascinating memoir that explores what it was like growing up as the son of a powerful mob boss who took every effort to shield his family from his true line of work and connections Elīna Garanča on the character of Eboli in "Don Carlo" After numerous benchmark role portrayals at the Vienna State Opera - most recently as Amneris and Kundry among others - KS Elīna Garanča will also perform the role of Eboli in Don Carlo for the first time at the Haus am Ring in March A role in which she first appeared before the audience in Paris in 2017 (in the French version) - to celebrate another triumph Dates Tickets I would describe Eboli as a "full character package" - a highly complex and anything but superficial woman from the very beginning You can already see that in her performance scene her interaction with the ladies-in-waiting: The way in which she makes fun of certain things even secretly laughing at the others because she is bored in her own socially assigned role shows how different Eboli is from all the other ladies-in-waiting This becomes even clearer in her first scene together with Posa multi-dimensional personalities noticeably clash It was not for nothing that I considered Eboli and comparable roles such as Amneris Dalila or Kundry to be dream roles at the beginning of my career To have now reached this point in my career means the fulfillment of these dreams and I look forward to being able to express them in all their depth over the next 10 to 15 years But as the saying goes: where the words end I think that Verdi paints an even more complete picture of the drama in his opera than is already the case in the play It is not for nothing that I consider Verdi to be one of the greatest if not the best dramatist in the history of music there is also the fascination of sensing aspects in characters that are not explicitly written out but have to be considered for the interpretation: For example it is often the mezzo-sopranos who undergo the actual development Soprano roles tend to have a relatively stringent characterization: they are shaken by various situations but a really profound transformation of their personality or a dramatic breakdown undergoes what is probably the greatest emotional maturation process of all the actors in this opera Verdi's mezzo and soprano parts are very similar The orchestration therefore plays a major role - especially the lower strings and the accompaniment surrounding the mezzo-soprano it is actually written very soprano-like - with coloraturas that are a real challenge for a mezzo-soprano And Eboli's and Elisabeth's arias are also similar in their dramatic function But the orchestration often makes Eboli's music seem deeper Verdi generally requires good vocal technique I wouldn't say that you need two completely different voices for the two Eboli arias The second aria benefits from the fact that it comes at the end of the opera when the voice is already well attuned and has been able to develop throughout the evening The first is different: the singer has to demonstrate the greatest virtuosity as soon as she enters the stage That's why the voice has to be warmed up intensively for at least 15 minutes beforehand so that it is well prepared and has an optimal sound this is a typical challenge in Verdi operas - just think of Radames in Aida whose most important aria is also sung right at the beginning of the opera As far as Eboli's relationship with Carlo is concerned the question is often asked whether she actually loves him Whether she really dreams of a serious love affair with Carlo or even of a marriage that would have made her queen is ultimately left open in the opera and can be answered by the production Eboli has an additional little aria that could indicate that for her at this moment it is really only about a love affair: be it for a brief moment of infatuation or as a kind of power play But one thing is certain: the moment someone loves be it a fleeting passion or a state driven by strong emotions their ability to think clearly and assess a situation and its implications ceases at least in the moment when she meets Carlo in secret her brutal reaction to Carlo's unexpected rejection is evidence of wounded vanity and of deep disappointment that drives her into blind revenge Her pain and wounded pride turn into destructive rage but this does not necessarily mean that her feelings for Carlo were fake or vain to begin with there are not only "good" or idealized characters Every character is shaped by their interests their obligations and the expectations of society which are often led into inner conflict by patriotism the desire to fulfill one's duty and love for another person Even Posa is not a purely ideal figure for me Everyone in this story has to fight for their own survival mastering their fate in an environment full of intrigue It is not uncommon for people to be sacrificed by others who are themselves fighting for survival I always try to see something good even in seemingly 'evil' characters Eboli grows up in a world that is dominated by men Perhaps she has learned to play their game in order to be seen not "just" as a woman but as an active person with her own ambitions Perhaps she actually saw in Carlo not only a romantic hope but also the chance of a life with more meaning and influence an existence that went beyond that of being a mere courtier I think the real problem lies in the society in which she lives In a world where women are judged primarily on their appearance rather than their abilities Eboli has probably learned to use her beauty as a weapon perceptive woman who sees through the men's power game and plays along herself Her despair is not only due to the fact that she is rejected Perhaps it is at this moment that she realizes how much she ultimately remains reduced to her appearance and never rises above what society wants to see in her Her beauty is therefore less a privilege for her than a burden because it prevents others from perceiving her as the extraordinary woman she really is Her complex relationship with the Queen must be seen in this light Many wonder how this reversal in their relationship can come about: First Eboli perfidiously betrays Elisabeth and then repents from the bottom of her heart this almost sisterly affection for the queen Eboli understands exactly how the world of men works and she knows how important it is to survive in her environment to be on good terms with the right people and to maintain influence Her frustration is also fueled by the fact that she is ultimately reduced to what's under her skirt It is said that the Queen and Eboli had a good relationship and felt a certain empathy for each other Both are trapped in their own way: Elizabeth was forcibly married and reduced to a representative role while Eboli is smart and influential but never officially recognized or taken seriously This shared frustration may have created a deep empathy between them Eboli may have known that she could never be queen herself But she may have wanted to be more than just a beautiful woman at court She could have used her 'weapons' as a woman she realizes how much her actions have only harmed a fellow woman The recent rediscovery of a forgotten photo album expands upon David ‘Chim’ Seymour’s documentation of the battle against illiteracy in southern Italy David Seymour Recently, analysis of UNESCO’s audio-visual archives (prior to digitization) brought to light a forgotten photo album-cum-diary, kept by David ‘Chim’ Seymour The rediscovered document was made in 1950 during his time documenting a UNSECO campaign against illiteracy in southern Italy A number of Chim’s images from the project were published in 1952 in the UNESCO Courier – the organization’s in-house publication – alongside a text by Carlo Levi by then famous for his memoir Christ Stopped at Eboli This rediscovery of previously unscrutinized photographs and notes offers important additions to Chim’s extensive documentation of post-war Europe which included his Children of Europe project (arguably his best-known work) and spurred UNESCO and the editors of the DeGruyter book series Appearances Studies in Visual Research to release a new book entitled They Did Not Stop at Eboli The publication brings together 30 full-bleed photographs contemporary press cuttings about the UNESCO campaign and Chim’s previously unknown letters to Carlo Levi – as well as four new essays: on Chim’s photographs and their wider archival context at UNESCO (by Giovanna Hendel) on the image of Italian schools in the photographs of Italian photojournalism (by Juri Meda) on the intellectual friendship between Carlo Levi and Chim (by Carole Naggar) and on the rediscovered photography album as an editing tool and a means of storytelling (by Karin Priem) Carole Naggar writes about this newly discovered body of work placing it in Seymour’s broader archive reflecting on images and contact sheets from the forgotten album as well as from number from his earlier and later works made in Post-War Europe The publication of They Did Not Stop at Eboli was supported by Luxembourg Centre for Contemporary and Digital History (C2 DH) at the University of Luxembourg Full PDFs of the book are available for free download here, while hard copies are also available for purchase here.  “‘Here it is! It’s all written here,’ she said, pulling an already filled out ballot from her pocket, for all the world like a precious talisman. Alas, the old woman was illiterate, and someone had foisted a monarchical ballot upon her. When I explained the trick, she looked at me sorrowfully, and said: ‘Is that why they didn’t teach us to read?’”  Carlo Levi, “Italy Fights the Battle of Illiteracy” (1949) A photographer’s archive is a living body: each time a discovery is made, the biographer’s – and the public’s – perspectives are enlightened and reshaped, both by the discovered material and by analysis of it. This is what happened with a recent discovery made in UNESCO’s archives in Paris. In the early spring of 1950, Chim traveled to southern Italy on a UNESCO assignment to document illiteracy – a problem effecting as many as 35 percent of Italy’s rural population. He photographed the new schools where peasants, the elderly and children alike, were taught to read and write by local volunteers and groups like the Unione Nazionale per la Lotta contro l’Analfabetismo, the National League for the struggle against illiteracy. The children’s postures, hunched over their textbooks or notebooks or poring over maps, the paucity of learning materials, the improvised surroundings and furniture – child-sized tables, chairs, and benches – and the home-made classroom materials shown in his 1950 reportage all recall the 1948 photographs. Chim thus suggests that the people of the Mezzogiorno were also oppressed victims of a war of sorts, waged not through weapons, but through politics, which had created the huge disparity between north and south. The people in southern Italy had been forgotten. They seemed to live in an enclave where time had stopped, while the rest of the country advanced in the period known as the “Italian economic miracle” in the 1950s and 1960s. As well as the aforementioned echoes of his Children of Europe work, in Chim’s 1950 photographs – especially those images showing the land occupation by peasants – I also found striking echoes of his work during the Spanish Civil War: the land reform meetings, the peasants tilling the fields. While fascist propaganda had used photography and words as tools to show the “New Italy,” these very weapons were turned around by Chim and Levi, employed to reveal the Italy that had been denied by fascism: the poor, archaic Italy that did not trust – nor care about – governmental promises. Poverty, hunger, the lack of access to land and education – the daily life of the peasants – are never shown in propaganda photographs. Though an outsider, Chim managed to penetrate a civilization and a people that he did not belong to. He did not keep his distance but sought to be witness and protagonist at the same time. His photographs are not merely anthropological: they have a sense of depth and radiate poetry. They are deeply personal and imbued with empathy and emotion. All in all, in his work on the campaign against illiteracy, Chim created a lyrical portrait of a fragile society on the brink of change. This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. You can email the site owner to let them know you were blocked. Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page. Please enable JS and disable any ad blocker Fortunately, those injustices can now be remedied as a restoration of 1979’s complete, uncut three-hour-and-40-minute “Eboli,” as rich and magisterial as the day it debuted, is screening for the first time. 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. Made for Italian television in four 55-minute parts, it boasted a terrific cast, including Gian Maria Volonté, Lea Massari and Irene Papas. And its off-screen talent included not only Rosi but some of the top names in Italian cinema: co-writer Tonino Guerra, composer Piero Piccioni and Oscar-winning cinematographer Pasqualino De Santis. That didn’t prevent “Eboli” from being released in the U.S. in a badly truncated two-hour cut that pleased no one, a lack of recognition that was par for the course for Rosi. The problem has not been that the director, who died in 2015 at age 92, did not do excellent work: A filmography that includes “Salvatore Giuliano,” “Hands Over the City,” “The Moment of Truth” and “The Mattei Affair” (which won the Palme d’Or at Cannes in 1972) is beyond reproach. Rather it’s partly that Rosi, unlike say Fellini or Antonioni, didn’t have an easily definable style and partly that the tendencies he did exhibit — toward humanistic, socially conscious films with a political edge, the very traits that make “Eboli” so remarkable — were not necessarily what Americans wanted to see. “Eboli” begins with the train, bus and car journey Levi (played with a piercing intensity by Volonté, later a Sergio Leone favorite) takes to get to the remoter-than-remote Lucania region, stunningly photographed by De Santis, on the instep of the Italian boot. The village of Gagliano where he’s to be exiled is so off the radar that the locals joke that even Christ himself ventured no further than Eboli — the closest train station but still a great distance away. This area, deep in Italy’s impoverished South, is especially alien territory to Levi. His elegant suit and scarf mark him as an urban sophisticate from Turin, in the country’s industrialized north. He may share a language with these people, but that’s about it. Or so he thinks. Like a piece of classic literature, “Eboli” has a three-part dramatic structure that mirrors Levi’s actions and state of mind. Initially, the writer is dazed and confused in these radically new surroundings, simply trying to get his bearings as he meets notables like the town’s ambitious mayor and the alcoholic priest who has contempt for his flock. Levi’s biggest shock is learning that the local people have so little faith in the town’s two doctors that they swarm him when they learn he has a medical degree even though he has never practiced. Gradually, Levi becomes more acculturated to his surroundings. He takes naps in freshly dug graves — the coolest spots in town — and is befriended by a gregarious group of men who’ve returned to their birthplace after living in New York City, a place they feel closer to than Rome. Finally, following a visit from his sister Luisa (Massari), Levi takes a more active role in the community, moving to his own home and finding Giulia (Papas), the only woman in the area morally allowed to clean an unmarried man’s house because she’s already had 17 children from 17 men. Forming a distant backdrop to all of this is Italy’s imperialistic invasion of Ethiopia, an action which does not find much favor. “If they have so much money in Rome,” someone suggests, “why don’t they spend it here.” 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. Finally, Levi comes to understand and convey what desperation does to people, how feeling subjugated and outside of history leads the downtrodden to embrace the fascism of the moment. It may have taken a long time for “Christ Stopped at Eboli” to get here, but, like most great art, it speaks to our moment as well as its own. Playing: Laemmle’s Royal, West Los Angeles; also Thursday at Laemmle’s Playhouse, Pasadena Hollywood Inc. Entertainment & Arts Movies Subscribe for unlimited accessSite Map Lisa Johnston is the Editorial Director of CGT. She joined the brand in 2020. Her journalism background includes writing for both business and consumer audiences, specializing in technology, retail, and consumer goods. In addition to speaking at a range of industry events and sharing editorial expertise as a media panelist, she's served as a judge for such programs as the Consumer Technology Hall of Fame and the Jesse H. Neal Awards.  has now turned to a Unilever exec for its new executive VP and chief supply chain officer Ale Eboli will assume the role Aug. 2, replacing the retiring Dave Biegger. Eboli will be tasked with end-to-end supply chain responsibilities, leading the manufacturing, procurement, environment, health and safety, plant quality, logistics, and transportation and warehousing teams for the No. 66 consumer goods company Eboli has more than two decades of global end-to-end supply chain leadership within the consumer goods industry logistics and manufacturing leadership roles he oversaw manufacturing facilities and co-manufacturers producing personal care manufacturing excellence and customer service functions "Ale is an exceptional leader who brings a proven track record of success in strengthening supply chain operations," said Sean Connolly and I look forward to working together to ensure we deliver exceptional value for all of our stakeholders." Eboli called it an exciting time to join the Chicago-based company and a strong portfolio of iconic and emerging brands I look forward to bringing my expertise to Conagra to help accelerate innovation and growth," he commented This is the second installment in Carlos Acevedo’s Rat Bastards series which takes a look at the fight game’s greatest miscreants Before he became just another chalk outline on the cratered streets of 1970s New York City, Thomas Eboli (aka Tommy Ryan) was part of the shady and shadowy boxing fraternity. As a manager in the 1940s, Eboli was only one of dozens of underworld denizens who had made remunerative pit stops at Jacobs Beach when boxing and organized crime were almost indistinguishable The Duke: The Life and Lies of Tommy Morrison What made Eboli unique was the fact that he did not need a front for his managerial activities and held a valid license from the New York State Athletic Commission despite decades as a Mob associate and a wordy rap sheet that stretched back to the Jazz Age came from the former welterweight and middleweight champion of the world (circa 1892–1896) who participated in a pair of legendary fights in Coney Island long before Eboli had been born where he eventually accumulated arrest after arrest on charges ranging from gambling to disorderly conduct Eboli made headlines guiding the career of Greenwich Village tough guy Tony Pellone a fighter good enough to have beaten Billy Graham (twice) these results may or may not have been prefabricated in dimly-lit nightspots or the ubiquitous social clubs that dotted Little Italy in those days Whether or not some of his ledger was counterfeit remains a mystery on charges of “procuring residents fishing licenses to which they were not entitled.” Eboli avoided charges and earned the embarrassing distinction of being the only boxer ever rounded up by a game warden To underscore just how intertwined boxing and the Mob were consider this: Eboli also managed Vinnie “The Chin” Gigante a light-heavyweight club fighter who never got past eight-rounders before retiring as a teenager Here were two future bosses of the Genovese crime family routinely splitting paychecks generated through a sport as dirty as the endgate of a garbage truck But Eboli was more than just a manager to Gigante; he was also an inspiration It was Eboli who introduced the crazy act to keep the law off-balance And it was Eboli who often feigned illness to avoid testifying at hearings Subpoenas regularly aggravated his heart condition and left him in Fowler’s position in hospitals across the tri-state area These comic innovations were direct influences on Gigante who would gain an extra measure of notoriety in the ’80s and ’90s by shuffling around Thompson and Sullivan Streets in a scruffy robe and shamming dementia as a way of avoiding criminal prosecution (Yet another future Genovese boss with boxing links was Anthony “Fat Tony” Salerno the great reformer whose crusade focused mainly on talented heavyweights who might have capsized Floyd Patterson.) a streaking cutie from Pennsylvania who fought mostly in New York City Castellani was a light-hitting technician who would eventually earn a shot at the middleweight title (He dropped a decision to Carl Bobo Olson in 1955.) Castellani would face the limited but dangerous Ernie Durando in a Madison Square Garden main event that would draw fewer than eight thousand spectators Television blowback was in full effect by then and live broadcasts left cavernous MSG as empty as Fordlandia on most nights The fact that Castellani had easily outpointed Durando a year earlier at the Garden hardly helped the box-office take A nimble Castellani once again was dancing The Bunny Hop under the lights while Durando nearly/merely plodded in place He landed a whipping uppercut that short-circuited Castellani completely but he was so wobbly that Referee Ray Miller decided on mercy and called a halt to the fight No sooner had Miller stopped the fight than Tommy Ryan ducked through the ropes and charged the referee He took several swings at Miller before the ruckus broke up It is likely an indication of just how notorious Ryan was that Miller refrained from flattening him As a solid featherweight in the 1920s and ’30s Miller had knocked out Jimmy McLarnin and had beaten Billy Petrolle via a narrow decision most famous for replacing Ruby Goldstein in the Joey Maxim–Sugar Ray Robinson inferno could have done to Ryan had he decided to cut loose Later he would testify coyly to a grand jury: “He started throwing punches An enraged Eboli would continue his rampage in the dressing room This time the victim would be IBC matchmaker Al Weill best known as the (undercover) manager of Rocky Marciano When Weill visited the dressing room after the fight he was immediately attacked by Eboli and his brother It was the kind of beating that might have been filmed for a particularly bleak boxing noir This scenario would include the wary witness who preemptively announced that he would have difficulty in identifying his assailants “My glasses were knocked off and busted right away,” he said “and I couldn’t see anything but a lot of fists flying.” where a suspected fractured jaw and broken ribs kept him overnight Tommy and Patsy were arrested and charged with assault What was it that had driven Eboli into such a frenzy The prospect of a fix—the ever-present outcome of so many fights during the Mob era in boxing—seemed possible given the fact that Durando was a 2-1 underdog But there was no question about the result—Durando had obliterated Castellani with a single pulverizing shot once told Kevin Mitchell what was behind the commotion he hit Castellani with an uppercut and the photographer took a shot and his feet were off the ground they stopped the fight and Castellani’s manager jumps in the ring and starts throwing a million fuckin’ punches The story was that he’d bet $80,000 on the fight It was the kind of luck that a murderous underboss could not stomach Chairman of the New York Athletic Commission announced that a hearing would take place and that Eboli faced the loss of his managerial license “My license?” Eboli responded when asked about the forthcoming hearing That’s what I think of the current boxing setup this can mean suspension for life,” he said “I intend to remove all undesirable characters from the sport I want no part of it.” Eboli would probably have been happier if Christenberry had wanted no part of boxing before he stripped him of his license and banned him for life Eboli eventually pleaded guilty and received a suspended sentence and a $500 fine.) outstripping dozens of mafiosos who had dipped their crooked toes into the fight racket Frankie Carbo may be one of the most (in)famous mobsters ever associated with boxing but he never reached the heights that Eboli did in the LCN when Vito Genovese was convicted of drug trafficking Eboli became part of a strange triumvirate (which included Mike Miranda and Jerry Catena) that ostensibly oversaw day-to-day operations of the borgata it was Genovese who ran the outfit from his cell in the Atlanta Federal Penitentiary the unpopular Eboli morphed into what Jimmy Breslin would call a “loud target.” (Louder in more ways than one Here is how mafia turncoat Al D’Arco described Eboli: “He rode around in this Cadillac El Dorado with a purple roof and a cream-colored body a gang war broke out in New York City as a result of the killing of Joe Colombo in June 1971 a very public rubout that took place during an Italian Unity Day gathering at Columbus Circle the local tabloids rarely lacked bloody Weegee-like snapshots for their front pages and capos snuffed out on the curbsides of Brooklyn stuffed in car trunks or shot in restaurants radical chic symbol and pal of Jerry Orbach who was spectacularly ambushed at Umbertos Clam House on Mulberry Street was gunned down in Canarsie after a tryst with his goomar A truck pulled up to his Cadillac parked on Lefferts Boulevard and a triggerman opened fire hitting Eboli five times with .32-caliber slugs his chauffeur dragged his limp body out of the bullet-ridden car and laid him down in the middle of the street Then he burned rubber into the dead of night No one was ever arrested for the murder of Tommy Ryan Dream to Make Believe: The Impossible Life of Edison Miranda All images and videos are copyright of their respective owners unless otherwise noted All content used in adherence to Fair Use copyright law If you would like an image or video removed please let us know and we will do so promptly Learn more about Hamilcar Publications on Wikipedia This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page It means that the best idea is the one you never saw coming The thing that catches you so off guard that you can‘t look away And the only path to genuinely unexpected works is through creativity.  Because you can’t make the unexpected if you only work with the usual suspects we take a peek behind the curtain at some of the diverse thinkers that make up our network and validate Bill Bernbach’s notion that an idea can turn to dust or magic depending on the talent that rubs against it.  DDB Worldwide – but I sit in the DDB Chicago office My first job after Uni was at the United States Senate I actually have a degree in Diplomacy and Government Studies so I graduated on a Tuesday and on Friday I was driving across states to start my job in DC elections… It was absolutely the best and I am forever grateful for getting that opportunity.  I was a Press Associate for a Senator and one day I asked my boss if I could take a crack at helping rebrand the Senator’s Twitter account From there I fell in love with all the ways social media can help us bridge communications barriers As much as I loved my time in Government I wanted creativity to be at the centre of my career and I knew an agency would be a place I could immerse myself I would be remiss not to mention that my mom is in advertising so I didn’t come into the industry blind I had many role models who helped me find what path was best for me and helped me get to where I am now.   The Always 'Run like a girl' Super Bowl ad It takes over my thoughts and that ad has the perfect message to remind me that those thoughts aren’t really mine It is a journey I want to go on over and over again Listening: I love Brazilian music because it reminds me of home So you can always find me listening to Marilia Mendonca and DUDA BEAT My biggest goal in life is to one day be able to make a living out of selling my art (shameless plug find me on Instagram Meboli_Creations).  I hope I never lose the wonder to be inspired every day by the world around us 220-minute cut of the film receives a stunning transfer and a small but illuminating assortment of extras Arrested by Benito Mussolini’s fascist regime for some manner of ideological nonconformity the painter and medical doctor Carlo Levi (Gian Maria Volontè) is sent from his native Turin into “internal political exile,” in a village in the southern Italian province of Lucania a “dark land without sin or redemption.” Particularly given the nationalist ideal of the nation as home Is there a place within the nation that’s actually outside of it A town in which it’s impossible to distinguish between those whom the law has punished and those it’s merely neglected The opening episode of Francesco Rosi’s four-part film plays like a less enthusiastically surreal version of the classic TV show The Prisoner: A man finds himself trapped in a village for an unspecified crime surrounded by people who are variably other prisoners there’s even an indistinct boundary Levi cannot cross And the tone of Rosi’s film is more one of somber reflection than political intrigue: Levi strolls rather than runs toward the edge of town and he’s likely to politely ask the local mayor (Paolo Bonacelli) for permission first Christ Stopped at Eboli is based on the memoirs of the real-life Levi who brought the social decline of Italy’s southern provinces into the national spotlight with his account of his year as a prisoner in Lucania (now Basilicata) the left-leaning Levi expects to encounter nothing but misery and ignorance in his open-air prison but he eventually becomes more empathetic to the locals’ conditions where the only paved roads lead out toward the province’s capital and taxes are collected from peasants whose only belongings are goats and loose furniture In the midst of Mussolini’s ultimately disastrous bid for imperialist expansion in Abyssinia (today’s Ethiopia) supposedly on behalf of farmers who need more space Levi discovers a community that has more than enough of it but lacks infrastructure and population Beyond Levi’s gradual shift in perspective—most apparent in the way he initially demurs at the villagers’ request that he serve as their doctor but eventually pressures the mayor at great risk to allow him to practice—Christ Stopped at Eboli doesn’t overly psychologize the man Levi serves the narrative much more as a cypher a mobile gaze exploring various scenes from the cramped hillside town like the one that gives the film its title (in Levi’s overwrought metaphor Christ allegedly stopped at the adjacent province of Eboli but especially early on he’s something of an unreliable narrator far more condescending toward the village than is Rosi’s camera The director’s languorous form of neorealism lingers on highly composed vistas and interiors that precisely split the difference between beauty and decay The cloud of fascism and war hangs over the community depicted through radio broadcasts of government speeches that seem to fill the air of the town the non-prisoner residents of Lucania were abandoned by the very project of Italian nation-building in the 19th century not by the nationalist modernism of the fascists Not too heady a dive into national-historical politics Christ Stopped at Eboli speaks the phenomenological language of the European art film of the 1960s and ’70s its long takes of elliptical interactions in real social spaces bringing to mind Michelangelo Antonioni or Luchino Visconti’s portraits of the nature of time (Visconti and Rosi were frequent collaborators.) Another influence may be Luis Buñuel, whose 1932 pseudo-documentary Land Without Bread used actual footage of Spain’s poorest region to savage the Spanish bourgeoisie’s own internal colonial gaze Among the most memorable moments from Christ Stopped at Eboli are its sudden shifts from its post-neorealistic mode to a distinctly surrealist interest in the villagers’ proximity to death Every so often the film’s apparent commitment to a material reality is undercut by nightmarish images like the abrupt cut to a close-up of a dead goat’s face hanging over the edge of a table or the discovery that Levi has opted to nap in the shade provided by an open grave Such moments don’t feel incongruous with the whole of Christ Stopped at Eboli which is comprised of a confluence of different gazes and voices that seek to understand or articulate the truth of the village at the center of the film With the exception of an unnecessary framing device in which an aged Levi contemplates his paintings—set in the contemporary moment of Christ Stopped at Eboli it’s all mood lighting and melodramatic zooms—Rosi manages to meld these various voices into a humanistic exploration of Italy’s “southern problem” and a thorough indictment of nationalist and imperialist agendas So much of Christ Stopped at Eboli’s visual splendor stems from the earthbound beauty of its rural setting all of which is wonderfully preserved in Criterion’s 2K restoration The image is sharp and the color balancing especially highlights the setting’s stunningly verdant hills with the dynamic range that differentiates between the earthy tones and black levels giving the fascist Blackshirts outfits an even starker contrast to their surroundings The textures of the town’s rustic buildings are also impressively rendered across the frame Some perceptible damage in the film’s bookended scenes is the only issue with the transfer The uncompressed monaural soundtrack is well-balanced with the ambient sounds of nature delicately mixed with the hustle and bustle of town life never compromising the clarity of the dialogue In his 25-minute introduction to Christ Stopped at Eboli including the film and book’s initial reception and novelist Carlo Levi’s work as a painter Most intriguing is his discussion about the challenges of writing the subtitles for the recent restoration of Christ Stopped at Eboli which is rife with regional dialects that led him to keep translations to a minimum and rely more on cadence and inflection for meaning An excerpt from Marco Spagnoli’s short 2014 documentary Unico includes the last filmed interview that Francesco Rosi ever gave and the director recalls his intense discussions with Levi and the diligent preparation of actor Gian Maria Volonté A segment from a 1978 TV program features footage of Rosi on the set of Christ Stopped at Eboli discussing his thoughts on Italy’s “southern problem,” as well as interviews with Volonté and director Elio Petri who address the troubled state of the Italian film industry at the time Also included here is an excerpt from a 1974 documentary featuring an interview with Rosi and Levi in which the two discuss the influence of the latter’s famed novel on post-war Italian literature and how it was informed by Levi’s own exile The package is rounded out with a comprehensive essay by film scholar Alexander Stille that further touches on Levi’s period of exile and offers a fruitful analysis of both the film’s political themes and aesthetic strategies 220-minute cut of Christ Stopped at Eboli makes its home-video debut via Criterion with a stunning transfer and a small but illuminating assortment of extras Pat Brown teaches Film Studies and American Studies in Germany His writing on film and media has appeared in various scholarly journals and critical anthologies Derek Smith's writing has appeared in Tiny Mix Tapes document.getElementById("comment").setAttribute( "id" "aad024b5703268e973f69fb30671ae81" );document.getElementById("facec42938").setAttribute( "id" and website in this browser for the next time I comment The film is humanistic exploration of Italy’s “southern problem” and a thorough indictment of nationalist and imperialist agendas "a0c14fdfca4e17e61c3959eae7015750" );document.getElementById("facec42938").setAttribute( "id" Click here to read our spring 2025 issue, featuring Caught by the Tides' Jia Zhangke and Zhao Tao, our annual spotlight on locations and more... When Francesco Rosi adapted artist and activist Carlo Levi’s 1945 memoir Christ Stopped at Eboli for Italian television in 1979 contemporary observers of the director probably saw it as a strange choice forcefully immediate studies of Italian society and politics like Salvatore Giuliano and Hands Over the City; Levi’s book about his banishment to an isolated rural town during the reign of Mussolini was as modest and personal as Rosi’s earlier films were sweeping and elaborate Yet the memoir had in fact been a dream project of Rosi’s for decades 220-minute miniseries he directed using it as source material is clearly the distillation of years of thought and work a precise and powerful character study that ends up exploring 20th-century Italian culture with every bit as much complexity and ambition as Rosi’s more overtly audacious earlier work Although Christ Stopped at Eboli runs nearly four hours and replicates the tedious rhythms of peasant life in its pacing every minute is riveting thanks to Rosi’s ability to tie the audience’s visceral experience to that of Levi himself played here by the legendary Gian Maria Volonte Rosi and Volonte draw the viewer in with rich physical and emotional details that vividly delineate Levi’s growing awareness of his surroundings and how that awareness makes him more aware of his entire country and the times in which he’s living; the result is a portrait of a man a country and an era that is as specific as it is universal The issues with which Levi wrestles involving class and gender and power are as relevant to 2020 America as they are to the 1930s Italy in which the film takes place and presumably equally germane to any number of other nations and epochs and Rosi’s mastery of his craft is so complete that the movie is as simple and accessible as it is infinitely rewarding The rewards are even more plentiful on Criterion’s superb new Blu-ray edition of the picture which includes not only the full-length television version (never before available on home video) but an outstanding array of special features The best of these is a half-hour interview with translator and interpreter Michael F who provides illuminating historical context for both Rosi’s career as a whole and Christ Stopped at Eboli in particular and Volonte themselves are all featured in terrific archival interviews and documentaries that make the disc a must-own for any serious enthusiast of Italian cinema A very different but equally important Italian filmmaker gets the immaculate home video treatment he deserves on two new 4K releases from the Blue Underground label Fulci merges a number of disparate influences ranging from H.P and in the process comes up with a spectacularly effective horror free for all; the film which follows an ill-fated family as they move into a house with an unfortunate past all stylishly framed by Fulci in expressive widescreen with vivid vibrant colors that look sumptuous in this new transfer As is usually the case with Blue Underground pressings the extra features are plentiful; my favorite is a historical audio commentary by film scholar Troy Howarth whose book Splintered Visions is the definitive text on Fulci Howarth also supplies a great commentary on Blue Underground’s 4K edition of Fulci’s follow-up to The House by the Cemetery the notorious slasher flick The New York Ripper (1982) impeccably directed and undeniably effective Ripper is an almost unbearably gruesome and confrontational horror film; yet it’s also wryly satirical and a great nostalgia trip thanks to Fulci’s exuberant use of New York locations in all their glorious ’80s grime Even by grindhouse cinema standards some of the film’s violence is awfully tough to stomach but the sadism is redeemed by the singularity of Fulci’s philosophical vision; he comes by his misanthropy honestly and infuses it with a genuine sense of tragedy by the time the film comes to its chilling While The New York Ripper finds an Italian director working on the streets of New York last year’s extraordinary character study Tommaso finds transplanted New York auteur Abel Ferrara shooting in Italy (his base of operations for the last several years) Ferrara regular Willem Dafoe stars as the title character is an American filmmaker and recovering addict who lives and works in Rome Ferrara’s floating digital camera observes Tommaso as he struggles to stay sane and sober while repeatedly giving in to his weakness for infidelity at the same time that he fears his own wife’s unfaithfulness; like Ferrara protagonists going back to The Driller Killer Tommaso’s grip on both his own neuroses and reality in general is tenuous but Ferrara’s view of his protagonist’s inner struggles is softer here than in the past Ferrara has always been at heart a humanist but his deep empathy is often obscured by the extreme self-destructiveness and self-absorption of his protagonists; here the connection between the audience and the characters – not just Tommaso but his wife (Cristina Chiriac) and daughter (Anna Ferrara) through whose eyes Tommaso’s charm and flaws become clearer and more frightening – is more direct than it has ever been in Ferrara’s work This is partly due to the intentional blurring of lines between fiction and non-fiction with scenes set in Ferrara’s own Rome apartment and his own wife and daughter playing Tommaso’s partner and child and the boundaries between drama and documentary are further tested by the use of many non-professional actors most powerfully in scenes set in Alcoholics Anonymous meetings in which real addicts mix among performers Ferrara isn’t playing a pretentious film student’s self-reflexive game here; his obliteration of the usual narrative and filmmaking categories creates an uncomfortable but rewarding intimacy between the actors and the viewer an intimacy made even more intense by Dafoe’s towering performance – one of the best he’s ever given The new Kino Lorber Blu-ray of Tommaso contains insightful liner notes by Ferrara scholar Brad Stevens and a pair of terrific Q&As (Ferrara interviewed by Sean Baker and Willem Dafoe in conversation with Mark Anastasio) and is a great way to discover one of the most original and beautiful films of the last several years Jim Hemphill is the writer and director of the award-winning film The Trouble with the Truth, which is currently streaming on Amazon Prime and Tubi. His website is www.jimhemphillfilms.com Italian director Francesco Rosi (1922-2015) made a four-part film for Italian television “Christ Stopped at Eboli” — based on the true-life experiences of physician Carlo Levi whose anti-fascist stance led to him being exiled to a far-flung portion of southern Italy in 1935 — was first seen on Italian television in 1979 a much-abbreviated theatrical cut of the film received distribution in the U.S.; the four-part version turned up a few years later when it was booked for a two-day run at the legendary Thalia Theater in New York City “It was like a sensation — lines around the block,” said Bruce Goldstein The four-part version of the film remained scarce until this spring after Rialto Pictures — a distribution company Goldstein founded in 1997 — acquired the rights to mount a theatrical release The full-length “Christ Stopped at Eboli” — running about 3 hours and 40 minutes — will be shown on Saturday afternoon at the Wexner Center for the Arts the residents of the faraway village in which he is forced to live the star of Louis Malle’s “Murmur of the Heart” (1971) Rosi prepared his own theatrical cut of the film that ran about 2½ hours but the version that was seen in 1980 ran a mere two hours “This (was) even a further cut,” Goldstein said “I don’t remember that version — what was in it or what was taken out of it.” the impact the full-length version had on audiences — and himself “The Thalia was only about 200 seats,” he said “We only had two shows to fill for two days.” He added: “I remember when I saw this version the film in its original length became something of a rarity “I do know it was shown in other parts of the country when Goldstein had Rialto Pictures up and running he approached Italian broadcaster RAI about releasing the complete “Christ Stopped at Eboli.” Goldstein learned that the four-part version was missing that version was traced to the company of now-deceased producer Franco Cristaldi “Now we have the film and all rights,” Goldstein said Rialto presents the film with a single intermission the credits must roll at the start and end of each of the four parts ‘You have like two minutes to go to the bathroom between parts,’” Goldstein said But interested audiences are encouraged to see “Christ Stopped at Eboli” while they still can — at the moment “It’s a real theatrical experience,” Goldstein said I think it’s much more moving in the theater and to kind of get immersed in.” Contact: 614-292-3535, www.wexarts.org It’s a perfect movie for a dark time: Carlo Levi’s famed novel about a political undesirable became a major Italian miniseries by the great Francesco Rosi starring the now-legendary Gian Maria Volontè In Mussolini’s most popular years of make-Italy-great-again Fascism a dissident is given an indefinite ‘time out,’ an exile to a small town in a corner of the country so remote and primitive that not even Christianity could fully change it He expects nothing but receives revelations about his country it’s like a book one can’t put down as opposed to the theatrical version that made a splash here in 1980 Instead we see something understandable by anyone that can remember being uprooted from home and having to adjust to unfamiliar surroundings Carlo Levi relates his own experience as a learned man dropped into a corner of his own country that feels more like an alien land Even the Italian he hears is a different dialect The title says it all — the area once known as Lucania is so off the beaten path of civilization that it’s said even Jesus didn’t make it quite that far Rosi’s four-part TV show would now be called a miniseries capturing the feeling of a landscape frozen in time Even in 1979 the film crew had little difficulty restoring a stone town on a hilltop to an earlier appearance that likely hadn’t changed for two hundred years The film has less dialogue than one might think The first hour is spent just getting to the town of exile and taking a look at where our hero will be living for an indefinite period The combination of the strange land and Gian Maria Volontès thoughtful attitude is mesmerizing All we know at the outset of Christ Stopped at Eboli is that Carlo Levi played by the middle-aged Gian Maria Volontè is being escorted to ‘internal exile’ in a town so remote that there’s no civic transportation for the last leg of the journey He discovers what at first seems a social disaster zone a place with just a couple of incompetent doctors and no pharmacy overrun by malaria but also easily controlled sicknesses Levi has a medical degree but has never practiced He finds himself compelled to do what he can The few official jobs in town are jealously guarded as with the mayor Don Luigi (Paolo Bonacelli) who spouts patria slogans but holds the peasant population in contempt He’s more concerned with looking good with his superiors than doing anything about the local dysfunction The worldly Carlo Levi studied in Paris but discovers he knows nothing about the neglected margins of his own homeland Everybody knows everybody else’s business — there are few political starting with a tax collector who simply seizes valuables not nailed down A man says that he’s slaughtering all his goats to keep them from being taxed a landowner who provides nothing and comes by only to collect his rent The man believes himself endowed with religious powers Levi discovers that the locals aren’t particularly Catholic as they associate Rome and the Pope as foreign occupiers that demand tribute and soldiers for their wars The peasants also maintain enough superstitions to form a pre-Christian pagan belief system Not even the church gives much thought to the region — the local priest was assigned there mainly as a punishment Father Traiella (François Simon) hates his congregation almost as much as they hate him and is equally appalled by the conditions she finds Carlo stays clear of his political co-exiles One of whom has apparently been punished for being caught with a communist poster from overseas This makes us think that Carlo may have been convicted for a single remark or was simply denounced by a Fascist who didn’t like his face The mayor warns the multi-lingual scholar not to read books written in a suspicious foreign language None of the things occur that we expect in a normal drama Although he does throw a sort of ‘painting party’ for the local children Levi doesn’t start a school or attempt to elevate anybody’s consciousness He doesn’t run a secret printing press or play Spartacus and plot against Mussolini We never hear him voice his politics to anyone The big surprise is that the film has no romantic element… and it isn’t missed lustful Julie Christie emerges from the peasants to share confidences with Levi The local custom is that unmarried men can’t be alone with women for any reason But a ‘safe’ cleaning woman for Levi is found in Giulia Venere (Irene Papas) a strong-willed single mother whose superstitious beliefs constantly astound Levi The film’s only vaguely sexual situation occurs when the aggressive Giulia insists on personally washing Levi in his bathtub — she’d never admit that she’s enjoying this man she only grudgingly called ‘good looking.’ Christ Stopped at Eboli is instead an interior meditation and learns within the confines of where the police will let him roam People accept him because he doesn’t impose his ideas on them; at one point he’s bombarded with mothers wanting medical attention for their children Levi learns that many of the men have gone to and returned from America; it seems a pattern for young husbands to give their wives children and then simply disappear and Levi must sit quietly as the mayor tries to drum up a patriotic fervor Every scene introduces something unexpected like a vendor who shows up calling out to one and all ‘bring your pigs to be castrated!’  In a scene not for the faint at heart the practitioner performs ad hoc internal pig surgery better than anything performed on people for a hundred miles around Saying that the movie’s locale is important makes Christ Stopped at Eboli sound like a travelogue when it’s not But Pasqualino De Santis’ beautiful cinematography captures the area in all weather conditions making the hilltop town and the rugged landscape seem like a cultural Lost World Our identification with Carlo Levi is so complete that we grow affection for the people of Lucania as well their bond with him is greater than that for their leaders wondering if that will prove to be a serious problem for him but look out for the beneficial effect of the mayor’s impatient Gian Maria Volontè serves as a strong identification figure. His Carlo Levi never pleads for sympathy, acts superior to anybody or loses his patience with the patronizing, pompous mayor. Weirdly, actor Paolo Bonacelli had starred four years earlier as a totally depraved Fascist in Pasolini’s abhorrent but honest Salo Lea Massari and Irene Papas put in strong appearances and François Simon’s erratic priest remains sympathetic too even though we know he was banished to these hinterlands for too-familiar moral crimes What an appropriate time it is to discover this particular film Pandemic lockdown feels a bit like an ‘internal exile,’ especially when our own political events seem to be spinning in the direction of Italy circa 1935 Carlo Levi is neither rebellious nor apathetic to his situation but simply goes forward in the best way he can Perhaps he was fortunate that Fascist fanaticism hadn’t reached its peak in 1935 I assume that opposition figures that directly challenged Mussolini paid far more dearly for their politics I was moved by Francesco Rosi’s earlier great pictures, even with their complexities and historical references — Salvatore Giuliano, Hands Over the City, even his unflinching look at bullfighting in the bloody The Moment of Truth I hope we get to see much more of his work; this fine film is the most emotionally rewarding Rosi picture I’ve seen so far The Criterion Collection’s Blu-ray of Christ Stopped at Eboli is an immaculate new restoration of this carefully filmed etching the many peasant faces on view as well as the contrast between parched earth fertile fields and the ancient town of stone In scene after scene we become aware of a specific place with specific weather conditions The only thing the images can’t convey is the temperature Judging by the way Levi wraps up and how the Baron throws his coat over his bed I associate composer Piero Piccioni with bouncy hip scores like that for The Tenth Victim and The Witches; here his contribution is a calming somber composition that establishes a contemplative mood  a flashback recalled by the aged Carlo Levi The extras are informative and frequently inspiring The duty of providing an overview for the show falls to Michael F a translator and subtitle expert who worked with director Rosi Moore explains a lot of context we might miss such as the continuing cultural division between the two halves of Italy The South was for a long time controlled by foreign powers At one point we hear a wailing Lucanian song that sounds a lot like Spanish folk singing The ‘brigand’ heritage that the locals are so proud of was basically resistance to economic oppression; we’re told that it formed the basis of The Mafia affectionate discussion with Rosi and his mentor Levi Francesco Rosi is the subject of an in-close 2014 interview about his collaborator Gian Maria Volontè The folding insert contains a lengthy essay by Alexander Stille Glenn Erickson left a small town for UCLA film school where his spooky student movie about a haunted window landed him a job on the CLOSE ENCOUNTERS effects crew He’s a writer and a film editor experienced in features But he’s most proud of finding the lost ending for a famous film noir Glenn is grateful for Trailers From Hell’s generous offer of a guest reviewing haven for CineSavant Maggie Garrison and Marianna Eboli are the newest additions to DDB's Global MarComms team 2021 /PRNewswire/ -- DDB Worldwide has today announced that Maggie Garrison has joined the global advertising network as Associate Director Garrison joins DDB to manage North America internal and DEI corporate communications DDB Chicago staff member Marianna Eboli has been promoted to Global Social Media Manager Garrison will report directly in to DDB Worldwide Global Chief Marketing & Communications Officer Donna Tobin on North America-focused marketing communications Global Head of Marketing who joined the Global MarComms team with Tobin earlier this year Tobin said: "Both Maggie and Marianna add an incredible amount of positive energy and solid communications and social media backgrounds to our growing DDB Global MarComms team I am absolutely thrilled to have them join our team at such an exciting time with so much momentum happening across our global DDB network." Garrison brings to her role both agency and holding company experience in marketing and advertising Garrison joins the team from Interpublic Group where she was Marketing and Communications Manager responsible for the holding company's internal communications efforts Garrison said: "I am excited to join the DDB team at such a pivotal time of transformation and growth There is a very talented team of leadership in place here and I look forward to working together to build upon the next generation of the historically famous DDB brand."  Eboli joins the team after a two-and-a-half-year tenure at DDB Chicago She brings to her role an international background McDonald's and Neutrogena teams where she was responsible for each brand's social media strategy content creation and awareness growth.  Eboli said: "I feel so energized to be part of the DDB Global MarComms team during this moment of cultural and creative change I fell in love with the DDB brand two years ago and am looking forward to continued growth and unlimited creative opportunities within my new global role." (NYSE – OMC) is a leading global marketing and corporate communications company Omnicom's branded networks and numerous specialty firms provide advertising public relations and other specialty communications services to over 5,000 clients in more than 70 countries CONTACT: Donna Tobin, Global Chief Marketing & Communications Officer, [email protected] https://www.ddb.com/ and advertising that often leaves audiences numb DDB Worldwide is taking a stand for emotion with the launch .. DDB is proud to announce its inclusion in Newsweek's inaugural list of America's Most Reliable Companies 2025 Advertising Personnel Announcements Do not sell or share my personal information: Essaying the pop culture that matters since 1999 From Christ Stopped at Eboli (1979) (Criterion) Francesco Rosi's tale of peasant life in a remote part of fascist Italy challenges the notion of the State and the individual's role in and duty to its preservation Christ Stopped at Eboli (Cristo si è fermato a Eboli) tracks the journey of painter Carlo Levi (Gian Maria Volonté) he has been consigned by the fascist administration of Benito Mussolini in 1935 to “internal exile” banished from his hometown of Turino (a hotbed of anti-fascist activity) to a small village in the deep Southern part of Italy The film is based on Levi’s memoir of his stay (roughly a year and a half) in the town of Aliano (although both the memoir and the film substitute the town with the fictitious Gagliano) in the region then known as Lucania (now Basilicata) that occupies the “instep” of the Italian boot Water drop by qimono (Pixabay License / Pixabay) Given the near impassibility of many of the roads in the rural area (particularly in the aftermath of bad weather) The village is not only remote with respect to spatial distance from the rest of Italy Gagliano and the Lucania region occupy a distant time Levi calls it a time before cause and effect One denizen has a car (he thought it would be a great business opportunity but apparently he only give roughly two rides to people per month on average); a few have phonographs or radios But these mechanical devices seem like mementos from another world or a distant future They sit uncomfortably alongside the chamber pots and the worn-down religious icons and paraphernalia of folk superstition that suffuse the town The people here live in roughly the same feudal manner that has persisted for centuries in the region Levi even meets a man from the North who comes by a few times a year to collect rents and proselytize on behalf of the saints and the power of faith these people are subject to the same taxes as the remainder of the country (although they simply can’t afford it; they are nearly all far below any reasonable poverty line) and the same laws as the rest of the country The latter demonstrates just how out of synch the region of Lucania is with the remainder of Italy Mussolini’s government had recently passed a law requiring the slaughter of goats in order to preserve vegetation and trees But in Lucania there are precious few trees and few crops aside from olives grow in the region The one thing they have in some minor abundance the one true source of feasible wealth in the area they are required to slaughter those goats—essentially cutting their own throats in the process The locals have a saying that communicates their relegation to a mode of living seemingly surpassed by modernity: “Christ stopped at Eboli,” meaning that historical advance reached no further south than the town of Eboli Leaving the train station in Eboli and moving south toward Lucania Levi boards a bus with peasants and chickens The passengers speak in distinct southern dialects; Levi understands them but only barely The man with the automobile appears at the bus stop to take Levi into town Gian Maria Volontè as Carlo Levi (Criterion) The extended opening sequence documents Levi’s multi-stage journey. He utters barely a word. He mostly just observes. We become accustomed to his patient gaze serving as a surrogate for our own. And perhaps this is the finest achievement of Francesco Rosi‘s film adaptation of Levi’s memoir: it teaches us a kind of observational patience Don Luigi Magalone (Paolo Bonacelli) about his views on fascism a putative witch named Giulia (Irene Papas) about her superstitious beliefs in a variety of ghosts and angels her reluctance to throw trash out at night in case it offends the guardian angel that stands at the door after dark He asks but he doesn’t attempt to refute He even seems willing to at least gently borrow an incantation that resembles a prayer from Giulia The townspeople come to love and accept him They seek him out as a doctor (he has a medical degree but little practical experience in the field—and yet he is soon viewed as more capable and certainly more willing than the local doctors) When the authorities deny him the right to practice the townsfolk protest first by assembling as a shouting cadre outside the mayor’s home and then by performing a bit of street theater lambasting the incompetence of the other doctors and the vain officiousness of the mayor Levi finds as much patience as he exudes; his gentle love for the peasants is returned by them He comes increasingly to identify with them—not through class identification but rather through the ironic distance they seem to take with respect to Mussolini and the current crises (including the colonial pursuit of Abyssinia or modern-day Ethiopia) the highest compliment he can think to give someone is to call them a “peasant” which he defines as someone who pursues the life they want to pursue because they want to pursue it—not because of some vaunted social or political commitment but rather through a commitment to living as well as one can given one’s circumstances at least from the perspective of class struggle and political science but it is intended as a view that honors the values of others without subordinating them to the values recognizable by the self (Criterion) The majority of the running time of the film’s three-hours and 40-minutes avoids saying most of this openly We merely observe Levi observing; we observe his interactions and his patient love and his joy in small discoveries that these themes are laid out in any discursive fashion To the minds of some viewers (and maybe even to my mind) this has to be considered the weakest portion of the film So much of the film has relied upon showing that it seems like a moment of weakness to revert to telling the coda—a conversation among four intellectual discussants concerning the proper role of the post-fascist state in relation to what is referred to as the “Southern Problem” (the fact that the South is woefully underdeveloped the people uneducated and politically unsophisticated)—does what a coda ought to do: it offers a kind of summing up and indeed a concretization of the themes of the film The seeming leader of this small colloquy claims that fascism simply made the “Southern Problem” worse By liberating the country from the taint of fascism conditions in the South will inevitably improve Levi fears that in its efforts to eradicate fascism in the South the State would simply and inevitably resort to violence Levi was never convinced that fascism had much of a foothold in the South (he saw the mayor as an entirely inefficacious proliferator of propaganda; all mentions of Mussolini fell on deaf ears); so efforts to “eradicate” fascism in the South would already be operating under a grave misconception Northern efforts to impose a new rule on the South would be seen Another member of the conversation insists that the peasant is essentially no different from the proletarian the worker revolution will essentially be a peasant revolution the man making this claim doesn’t put it quite that way—he just proclaims that the peasant condition will improve when the proletariat takes control of the means of production This is simply a reworking of the argument presented by the leader of the discussion or better—the various populations that live and dwell and procreate and die in Italy This view of the State is ultimately paternalistic and remote—like a God that provides abstract salvation in some inscrutable manner but never appears (Criterion) If the State insists upon unity above all else—a unity in which its remote superiority is always to be valued over the actual lives of the people living in Italy—if the State is always to be some looming but distant figure then the difference between democracy and dictatorship breaks down What difference does it make to the peasantry if their needs their modes of living are meant to be sacrificed on the altar of State unity The peasantry doesn’t understand the demands of the State and their needs are not understood by that State There is no communication and no true unity—if unity is intended to mean the coming together of various peoples within the State what it means to these men or to pretty much anyone espousing the unity of the State as a preeminent concern Unity of the State implies the remoteness of the State the distance from which it reigns sovereign In Ancient theology (such as Plotinus) God is defined as the One All things in God are unified in His holy being from God’s separation from the great disunity of creation The world consists of many things—disunited but perhaps not irreconcilable But reconciliation here cannot come from eradicating difference in the manner that all differences in God are absorbed into the larger unity and thus erased When the State becomes a substitute for God reigning from a supreme and unbridgeable distance calling out to its subordinates from across a chasm it operates through censure and elimination—erasing the very differences that provide meaning to those living under the supervision of the State The State purports to protect but it can only protect its own interests (which it holds paramount) by eradicating the difference that ought to be seen as constitutive of its power but is too often seen as a mere threat Levi clarifies his thinking by reversing the trajectory of the “problem” the “Southern Problem” is more adequately termed the “State Problem” extends beyond the distinctions between fascist and democratic states The real problem is the conception of the State as such and the conception of the individual supposedly residing at the basis of that State The State treats the individual as a kind of legal fiction—a closed off entity that can serve as the site of responsibility so that it can serve as the site of punishment The State can only exist by exerting force Levi asserts that the individual is “a link a meeting place of many relationships.” In other words the individual is a point but not the kind of point the State wants it to be Hence the importance of property ownership for a modern State The State requires that you are locatable and that becomes your primary function You owe allegiance to the State because the State gives you a location in which to exist and that is your sole reason for being Criterion Collection has released a Blu-ray edition of Christ Stopped at Eboli that restores it to its full length as the four-part film that was originally shown on RAI the Italian television station that helped produce the film It is a gorgeous print that quietly luxuriates in the atmosphere of the small Southern town and its charismatically battered buildings (full of past promise and present hazard) the rugged sincerity of the local citizenry and the gorgeous expanses of the surrounding environment The edition includes several extras: an introduction to the film by translator Michael F. Moore a documentary that originally aired on the French television series Cinè’s discussing Rosi’s contributions to political film a segment from a French talk show featuring Rosi and Carlo Levi and an excerpt from the 2014 documentary Unico that addresses Rosi’s work with Volonté You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed You can read this article in 2 minutesRushit Shah Regional Director of Alcott Global- Asia Pacific and North America | 5.10.2023 Alexandre “Ale” Eboli is the Executive Vice President and Chief Supply Chain Officer for Conagra Brands He has end-to-end supply chain responsibilities for the company Ale joined Conagra Brands with 25 years of experience in global end-to-end supply chain leadership within the consumer packaged goods industry and has held a variety of roles in finance where he was responsible for overseeing manufacturing facilities and co-manufacturers producing personal care and ice cream products as well as the related planning Ale earned a Master of Business Administration degree from the University of Michigan and a Bachelor of Science degree in Naval Engineering from São Paulo University In this episode of the Alcott Global Podcast Leaders in Supply Chain podcast host Rushit Sha talks to Alexandre about the following: For more podcasts in this series, visit the Alcott Global website. Agnieszka Kulikowska - Wielgus Journalist Trans.info | 6.05.2025 Pölös Zsófia Journalist Trans.info | 5.05.2025 Fragrance on the Fly: Why Pocket Perfumes Are Perfect for Airplane TravelSponsored Article 6.05.2025 Look out for your first newsletter in your inbox soon We help you navigate a myriad of possibilities Sign up for our newsletter for the best of the city By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news Sign up for our email to enjoy your city without spending a thing (as well as some options when you’re feeling flush) Our newsletter hand-delivers the best bits to your inbox Sign up to unlock our digital magazines and also receive the latest news By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Italy Italy: the incredible abandoned ‘ghost village’The town of Craco was abandoned in 1980 but you can still visit its decaying streets and buildings The Italian region of Basilicata was most famously described in Carlo Levi’s 1945 memoir ‘Christ Stopped at Eboli’. Levi was a doctor he became a political exile and was banished to the arid badlands of the Italian south Much has changed in Basilicata since Levi returned to the north set in the badlands only a couple of miles from where he lived is a relic of that ancient and mysterious Italy that he once knew – where stony ruins bake in the midday heat and where the past looms far larger than the present and future Towering above the landscape on a rocky outcrop the silhouette of Craco still stirs the imagination of passers-by Craco was first settled by the Greeks in the sixth century AD though tombs dating to the eighth century BC hint at an older incarnation It owes its present layout to the medieval period: in the twelfth century with a host of palazzi built in the following centuries The town’s fortunes ebbed and flowed with that of the wider region It was caught up in the upheaval of Italian unification in the nineteenth century and saw an exodus of sons leaving for the New World that proved to be Craco’s final undoing combined with a series of violent earthquakes and landslides saw Craco deemed uninhabitable in the years after the Second World War almost all the inhabitants were moved to a new settlement in a valley nearby guided tours allow participants to explore the ruins wearing hard hats Craco resembles a sketch by the Dutch graphic artist MC Escher with stairways and houses stacked on top of each other rusted balconies where families once hung their washing Weeds sprout at the altar of San Nicola church including the church of Santa Maria della Stella where a statue of the Virgin and Child was miraculously discovered by a passing shepherd (the Child went missing who would seduce her patrons and turn them into vinegar Craco has found fame as a film set – scenes from the Italian movie adaptation of ‘Christ Stopped at Eboli’ were shot here And Christ did finally make it as far as Craco for the filming of Mel Gibson’s Passion of the Christ Ghost towns have a particular poignance in Italy where the birth rate is currently at its lowest since the country’s creation in 1861 – Basilicata itself loses 3,000 young people every year Craco withstood the tides of the invaders borne on the Mediterranean Its story began with Greek sailors stepping ashore in the glory days of the Byzantine Empire – and ended only a few decades ago ‘The Atlas of Abandoned Places’ by Oliver Smith is published by Mitchell Beazley (£20 Now discover 11 more incredibly cool abandoned places you can visit around the world Thanks for subscribing! Look out for your first newsletter in your inbox soon! About us Contact us By | 11/28/2012 12:05 am | 3 Comments Pedro Eboli directed, designed and animated this kids music video with Brazilian based Birdo Studio. Its being played at live concerts, as an animated backdrop for Brazilian childrens band Little Citizen (aka “Pequeno Cidadão“); the lyrics tell the story of a kid who goes into the living room and sees the furniture dancing There´s more info and images over at the Birdo website Studio founders Paulo Muppet and Luciana Eguti produced the piece Also check out this Birdo piece I posted in 2008, one of my favorite bits of retro animation when the French teenager began exhibiting fits of rage and then started stumbling around his home in the late 1990s he couldn’t remember things and his speech began to falter “It was as if his mouth was full of food and he couldn’t push the words out,” his mother told reporters Eboli died — paralyzed and comatose — becoming one of the world’s roughly 150 known victims of “mad cow disease.” First recognized in the United Kingdom in the 1980s mad cow disease — formally known as bovine spongiform encephalopathy (BSE) — causes the brains of cattle to waste and become spongy and pockmarked has been known to affect sheep for more than a century.) Stricken animals stagger and behave erratically — like “mad cows” — and eventually are unable to stand Although BSE was recognized as a problem for farmers it took a while for officials to realize that the disease might threaten people who ate beef Only in the last decade have researchers been able to piece together much of the sobering story scientists believe mad cow gained its foothold in the U.K when farmers began giving their cattle feed which was laced with tissue from other farm animals that included sheep and “downer” cattle misshapen proteins — called prions — that are believed to cause the disease by triggering changes in normal proteins These prions can be transferred to people when they eat beef products that include infected brain the prions cause what doctors call “variant Creutzfeldt-Jakob Disease” (CJD) — the disease that killed Arnaud Eboli It can take years for the disorder to fully develop and more than 140 deaths have been attributed to the disease The first known human victim was Stephen Churchill first Britain and then other nations took drastic steps to stop the spread of mad cow almost four million cows suspected of carrying the disease were destroyed Governments banned the sale of feed including tissues from other livestock although the only certain way to know if a cow is infected is to study its brain after it dies such steps have prevented other major outbreaks When the United States discovered a single infected cow in late 2003 The discovery prompted a steep drop in beef prices and a nationwide search for other infected animals Hundreds of animals were slaughtered in a bid to head off any potential outbreak Researchers continue to try to understand mad cow and invent better ways to detect it The February 2004 announcement of a new strain of the disease may prompt the Department of Agriculture to adopt more sensitive tests already used in Europe researchers warn that everyone from farmers to consumers need to keep a watchful eye on what they eat — and what it © 2025 WNET PBS is a 501(c)(3) not-for-profit organization GARFIELD - Gabe Jang blames his brother Luke advanced to the Bergen County semifinals with an overtime win over Luke LaPira of Demarest Saturday he talked about how he never would have gone out for wrestling if Luke hadn’t encouraged him “He’s coming back from college today and that’s kind of why I won,” Gabe said I can go home now and eat with him…rice and chicken.” Jang is one of three Leonia/Pal Park wrestlers to make the semifinals this morning August Hibler (150) and Stav Fronimos (157) That’s the most of any public-school program You never quite know how a heavyweight match might go and you don’t know what a heavyweight might say Gabe talked about how much fun wrestling is how he doesn’t have to do any of ‘that nonsense’ like cutting weight “This is one sport where I can be athletic enough.” the sixth-seeded Jang showed determination against LaPira but Jang fought him off and was able to get control for the winning two His younger sister is a runner and he joked that she’s 70 pounds and he’s four times her size Joe’s star Rocco Dellagatta in Sunday’s semifinals “I can’t wait to sit next to him in the medal picture The BCCA Wrestling/George Jockish Wrestling Tournament is one of the best events of the year in North Jersey but it has struggled to find a home big enough to handle it The tournament has bounced around the last two decades and this was the first year at Garfield Middle School and the entire first day took a little more than seven hours The truth is no one spot in North Jersey has everything this event needs Tournament organizers have thought outside the box and looked at American Dream as one possible spot to hold the event The lowest remaining seed in the championship bracket is 21st seed Joseph Eboli of Don Bosco at 106 pounds Eboli will face top seed Oumar Tounkara of Teaneck in the semis “I saw my seed and that only fueled me,” Eboli said “It made me drive more and prove everybody wrong I am just trying to put my name on the map.” Eboli edged Joe Celenza (Westwood) 2-0 thanks to an early takedown and great defense Ridgewood junior Charles Shaddow showed real emotion after punching his ticket to the semifinals The 132-pounder held off New Milford’s Jerzey Ryan in one of the better matches of the day winning 2-0 “I think this really establishes myself in one of the hardest counties in the country,” said Shaddow I am just looking to keep climbing and tomorrow I make my mark.” Shaddow placed sixth as a freshman in counties but said he struggled last year in the event and was disappointed He’s spent a lot of time working on neutral position and trying to improve and I have just been working on neutral all summer long and it showed on the mat and now I’m ready to go.” The numbers27: The number of semifinalists from non-public schools 14: All 14 top seeds advanced to the semifinals Joseph Regional leads all schools with 11 semifinalists 9: The number of semifinalists from Paramus Catholic 8 seconds: the fastest pin of day one was in eight seconds by Joey Monticello of Don Bosco at 150 pounds There’s another big change at the top of a UMG company: Paulo Lima (pictured) has been drafted in as President of Universal Music Brazil replacing José Eboli – who exits after 13 years with the major Digital music expert Lima moves over from his role as partner and CEO of Imusica S.A. where he developed local services such as Claro Musica Chairman and CEO of Universal Music Latin America and Iberian Peninsula López said: “Paulo represents the very best in entrepreneurship and business management with a profound knowledge of the digital “I’m confident he will play a key role in helping us achieve our goals and build innovative business models in the constantly evolving music and entertainment business environment.” Lima said: “I am honoured to be part of the world’s leading music company It will be an amazing challenge and a great responsibility to lead Universal Music Brazil in creating and developing scalable business models that promote music in a creative and profitable way José Eboli was appointed General Manager of Universal Music Brazil in 2003 and was later named President Prior to joining UMG, Eboli was President and Managing Director at Sony Music Brazil from 2000-2003 and Said López: “We are deeply grateful to José Eboli for his many contributions and dedication leading the team at Universal Music Brazil for 13 years.” UMG says Eboli will continue to work closely with its team as an A&R consultant for Brazil and Latin America markets “We are deeply grateful to José Eboli for his many contributions and dedication leading the team at Universal Music Brazil for 13 years.” Jesús López, Universal Music Group To put into context the importance of this move, IFPI data shows that Brazil was the world’s 10th biggest recorded music market last year Yet with a population in excess of 240m people that equated to a painful $1.20 spend per capita – compared to $15.50 in the USA and $20.30 in Norway Lima takes on his new job after 25 years working in the digital He started his career in 1989 as a sound and maintenance engineer at Impressão Digital Studios & Nas Nuvens Studios in Brazil and worked at record labels such as Som Livre and Polygram Lima was founding partner and CEO of Ground Control Professional Audio a company specialising in engineering design installation and maintenance of professional audio in Brazil and Florida He holds a degree in Electrical Engineering and has received international awards and nominations The changes follows a string of high-profile exits at UMG over the past few months More than 50 executive positions have been affected by the restructure – essentially the closure – of what used to be called Universal Music Group International (UMGi).Music Business Worldwide Stay on top of the real stories shaping the music industry: Join over 60,000 industry professionals who rely on MBW's FREE daily newsletter and alert emails for essential insights and breaking news The Monitor is owned by The Christian Science Church and we’ve always been transparent about that The Church publishes the Monitor because it sees good journalism as vital to progress in the world you’ll find award-winning journalism not driven by commercial influences – a news organization that takes seriously its mission to uplift the world by seeking solutions and finding reasons for credible hope A deeper view that unites instead of divides Behind the news are values that drive people and nations Discover the values that drive the story The Christian Science Monitor's coverage of the war between Hamas and Israel We want to bridge divides to reach everyone Already a subscriber? Log in to hide ads From Tom Santopietro's new book 'The Godfather Effect,' a behind-the-scenes peek into making one of the greatest film series of all time Monitor journalism changes lives because we open that too-small box that most people think they live in We believe news can and should expand a sense of identity and possibility beyond narrow conventional expectations Our work isn't possible without your support Already a subscriber? Login Return to the free version of the site Return to the free version of the site ‘Caine’: Rina Sawayama Returns As Badass Akira In ‘John Wick’ Spinoff Directed By Donnie Yen Rian Johnson Counters Netflix CEO’s Comments On “Outdated” Theatrical Model: “Theatrical Is Not Going Anywhere” ‘Together’ Trailer: NEON’s Buzzy Horror Flick Heads To Theaters July 30 Marvel Officially Announces ‘Thunderbolts*’ Real Title Is ‘The New Avengers’ ‘American Psycho’: Chloë Sevigny & Patrick Schwarzenegger Want In On Luca Guadagnino Remake 16 Must-See Films To Watch In May:  ‘Thunderbolts*,’ ‘Phoenician Scheme,’ ‘Mission Impossible: The Final Reckoning’ & More 10 Must-Watch TV Shows In May: ‘Poker Face,’ ‘Dept. Q,’ ‘Murderbot’ & More ‘Thunderbolts*’ Review: Marvel’s Shamed Misfits Defeat Self-Doubt & Find Their Heroic Purpose ‘Andor’ Season 2: Tony Gilroy Talks Emotional Consequences, Expanding Rebellion & Why He’s Done With ‘Star Wars’ [The Rogue Ones Podcast] ‘The Pitt’ Review: Max’s Engrossing Medical Drama Is ‘ER’ Meets ‘24’ With A Little ‘Industry’ ‘Poker Face’ Season 2 Review: Natasha Lyonne’s Detective Series Takes Big Swings With Absurdist Mysteries ‘The Gilded Age’ Trailer: Love Conquers All or Costs Everything In Season 3 ‘Shogun,’ ‘Baby Reindeer,’ ‘Fantasmas’ Top 2025 Peabody Awards Winners Ariana Grande & Cynthia Erivo Will Start The ‘Wicked For Good’ Promo Campaign On ‘RuPaul’s Drag Race All Stars’ ‘Havoc’: Gareth Evans Talks Tom Hardy, Virtual Cameras, Christmas Violence & The Possibility Of ‘The Raid 3’ [The Discourse Podcast] Patti LuPone Revisits An Emotional ‘Agatha All Along’ Journey And, Yes, She Really Does Love The New ‘Sunset Boulevard’ Exclusive: Lydia B. Kollins On Her “Automatic Yes” To ‘RuPaul’s Drag Race All Stars’ ‘Salvable’ Review: Toby Kebbell & Shia LaBeouf Can’t Help This Boxing Drama To Feel Original ‘Electra’ ‘Review: Maria Bakalova, Daryl Wein Star In A Genre-Confused Romp With Little To Say ‘Havoc’ Review: Tom Hardy & Director Gareth Evans Deliver Maximum Sicko Mode Chaos In Slight, But Entertaining Cop Thriller ‘MobLand’: Tom Hardy On Shakespearean Gangsters, ‘Havoc,’ & Why The Spider-Man/Venom Team-Up Never Happened [Bingeworthy Podcast] ‘Highest 2 Lowest’ Teaser Trailer: Spike Lee’s A24 Cannes-Bound Ransom Thriller Stars Denzel Washington ‘Sally’ Trailer: Acclaimed Sundance Doc About Trailblazing First Woman To Blast Into Space [Ned] ‘Everything’s Going To Be Great’ Trailer: Bryan Cranston & Allison Janney Star In A Show Business Dramedy Premiering At Tribeca Tony Awards 2025: George Clooney, Cole Escola, Sarah Snook, Nicole Scherzinger, Sadie Sink Land Nominations ‘Adolescence,’ ‘The Pitt’ & ‘Dying For Sex’ Top 2025 Gotham Television Awards Nominations Halle Berry, Jeremy Strong, Alba Rohrwacher Join 2025 Cannes Film Festival Jury painter and political exile Carlo Levi published his memoir titled “Christ Stopped at Eboli.” The book was very well received leading many in Italy to fully understand the poor living conditions in some Southern villages The novel was famously adapted by Academy Award-nominated filmmaker Francesco Rosi a film of the same name uncut version of “Christ Stopped at Eboli,” we’re proud to give our readers an exclusive look at the new trailer and poster for the film The film follows a man who is exiled to Lucania where people say that Christ himself has forsaken it READ MORE: The Essentials: The 8 Best Luchino Visconti Films “Christ Stopped at Eboli” was originally made into a TV movie when the film was released outside of its home country it was cut down into a 150-minute feature film US film fans will be able to experience Rosi’s “masterpiece” for the first time in all of its 3-hour and 40-minute glory “Christ Stopped at Eboli” will have an exclusive engagement at Film Forum from April 3 to April 18 before the film premieres in LA on April 26 doctor and anti-Fascist leader Carlo Levi (1902-1975) – played by the great Gian Maria Volontè (Rosi’s Lucky Luciano and Mattei Affair Petri’s Investigation of a Citizen Above Suspicion a region deep into the instep of southern Italy a place so abject even Christ has forsaken it existing side by side with ravishing natural beauty a town with one car and only one porcelain toilet; where magic spells and evil spirits exist side by side with Christianity – the drunken disgraced priest denounces the locals as “donkeys not Christians;” where cleaning lady Irene Papas (Guns of Navarone Zorba the Greek) is the only woman who can enter his house because she’s already had 17 children with 17 different men; and where The Playlist is a leading film and television website critical takes and more for the film community at large from moviegoers to entertainment industry players to the modern-day binge-happy viewer Growing in reach over the last eight years in all forms of destination traffic and social media our loyal audience looks to The Playlist as an ahead-of-the-curve tastemaker for celebrating both contemporary and new cinematic voices Contact us: [email protected] © Copyright - ThePlaylist.net All Rights Reserved While Eboli's murder is officially unsolved there are some theories about who ordered his killing Eboli had become the de facto head of the crime family sharing power with Gerardo Catena Genovese still made the real decisions from his prison cell until his death from a heart attack a decade later At the top of the list of Eboli's potential killers was Carlo Gambino who was then in the midst of consolidating power over New York's underworld Pasquale had allegedly hosted a dinner party for the cast Max Pezzali announces a special news for all its fans The artist will perform in different places in Italy starting from November 29 in Milan to arrive then on 6 and 7 April 2023 at the Palasele in Eboli After the great success obtained by the double date of San Siro Sings Max one of the most loved and followed in the Italian music scene is ready to give you other unforgettable evenings The double date concert will turn into a great karaoke in which Max Pezzali will retrace all the songs that made him famous and many other recent songs that will make you sing at the top of your lungs Palasele, Via dell'Atletica, 84025 Eboli SA we earn a commission from qualifying purchases through ticketing links This commission does not entail any additional price for the user Tuesday 11 April 2023 al PalaSele di Eboli an unmissable appointment with the concert by Eros Ramazzotti Warehouse Infinite Beat World Tour after four years from the publication of the last one and is the result of the new collaboration between Eros and VERTIGO / EVENTIM Infinite Beat will be available from September 16 while already from June 10 it is available for pre-order This new adventure will lead the artist from September 2022 to May 2023 to sing in some of the most important cities in the world she will depart from Los Angeles with stops between North from February to May 2023 the artist will move to Europe with the program 10 Italian dates the album pre-orders are available starting June 10 By pre-ordering the album you will have the right to access the exclusive 48-hour pre-sale of the new world tour from 10:00 on 21 June From 23 June 2022 tickets for the Battito Infinito World Tour on the official site of the artist and on Vertigo site. Palasele, Via dell'Atletica, 84025 Eboli (SA) This commission does not entail any additional price for the user.