Marcello Fonte

What would Jesus preach in the 21st century? Who would his disciples be? And how would today's society respond to the return of the Son of God? With The New Gospel, Milo Rau is staging a "Revolt of Dignity". Led by political activist Yvan Sagnet, the movement is fighting for the rights of migrants who came to Europe across the Mediterranean to be enslaved on the tomato fields in southern Italy and to live in ghettos under inhumane conditions.

In a respectable suburb made up of row houses, Luca Attorre — a freelance journalist who struggles to get his features published in the papers — is unable to maintain Susi, a ballerina reduced to teaching dance to overweight women, and Lucilla, their quiet and imaginative six-year- old daughter who suffers from severe bronchial asthma. They are helped economically by Pierpaolo, Luca’s seventeen-year-old son from a previous relationship. Pierpaolo lives in an Art Nouveau house with his mother and grandfather, an important trial lawyer of cases linked to politics who rakes in several million euros a year. In the setting of a magnificent and incomprehensible Rome, both a good mother and a bad one, Mary Ann, a deeply Catholic student of art history from Ireland, au pair for the little Lucilla, is caught in the middle.

At the end of the 1950s in Africo, a small village in the southern valley of Aspromonte, a woman dies in childbirth because a doctor fails to arrive on time. No road connects Africo with the other villages. In the wake of this tragedy, all of Africo’s citizens -including children - abandon their usual occupations and unite to build their own road. Giulia, the new schoolteacher, comes from the North with a mission to teach standard Italian to help bring cultural cohesion with Africo and the rest of Italy. But she will have to contend with the local mafioso Don Totó, who is determined to ensure this the town remains cut off, and thus, under his power.

In this live-action adaptation of the beloved fairytale, old woodcarver Geppetto fashions a wooden puppet, Pinocchio, who magically comes to life. Pinocchio longs for adventure and is easily led astray, encountering magical beasts, fantastical spectacles, while making friends and foes along his journey. However, his dream is to become a real boy, which can only come true if he finally changes his ways.

Capossela denounces the impossibility for mankind to realize the Christian precept: "Love your neighbor as yourself". Thus Christ renounced his mission, made himself poor and ended up poor man. And now he is silent, while the man screams as loud as he can.

Is art useful to man? The actors are suited to society. Passers-by are people who want to dream but have now lost confidence, laziness on the one hand, conditioning and deschooling on the other, require you to lower your sights and everyone is content to pursue modest cheap expectations. Reality and art are not in communication, impoverished by individualism, the actors and artists dance to the rhythm imposed by power, they slaughter each other, they abuse each other without realizing the possibilities of communication that open up by moving outside the choir. Rome is occupied by every step, the foot walking lightly occupies the public land. But this occupation is not news because it is lightning fast. The criteria of employment mark the time.