Clothed for Cinema, naked for Rome
There are images that return like a persistent frame from an old film: a row of crosses stretching along a road, a body nailed to the wood, a face frozen in pain, and a garment girded around the hips, modest, almost symbolic, as if meant to shield not so much the body as the viewer’s conscience. In the collective memory, this image has already been polished, transformed by cinematic aesthetics and religious iconography, tamed. The cross appears as a symbol of faith or an individual’s drama, not as a part of the state machine. Meanwhile, Rome, which turned this punishment into a political tool, was not interested in shielding anything.
