This is basically a modulation from the relative major F back to D minor.
The progression after the "F7" chord is
V-of-iv, iv, V7, i, V7, i in D minor, i.e.
D7 Gm A7 D A7 D
I wouldn't describe the chord in the second bar as "F7" and go looking for a non-standard way for a dominant 7th chord to resolve. It's just an F major chord with a passing note in the bass - which happens to be Eb.
These block chords are just a shorthand meaning "improvise something similar to the previous written-out bar". The performer can make as much, or as little, of the Eb as he/she feels inclined.
Note that the progression F D7 Gm is just the modern "gear shift modulation" to get to a key a tone or a semitone higher - i.e. don't get all cute and clever about modulating, just play V7 I in the new key and your are done! 18th century recitatives are full of such unprepared jumps to new keys.
Of course if turns out that G minor isn't the final destination of the F D7 Gm progression - but music (like film and theatre) is an art form that necessarily progresses in time, so we don't know that G minor isn't the end point of F D7 Gm until we hear what comes after it.
Arguably, the Eb passing note is a deliberate destabilizing influence, so that the F D7 Gm progression leaves some doubt as to where it is ultimately heading.