In a Q & A, Pasolini explains to a journalist what he means when he refers to the elite. In another clip, he asks people on the beach about sex.

Pasolini doesn't want to talk about his enemies, but does talk about the people he loves the most: simple folk, who might not have even finished grade school. For his early films, he took inspiration from Antonio Gramsci.

Pasolini is asked what he thinks about progress and development. He is also asked about the inspiration he seems to have taken from subjects of the New Testament of the Bible.

In this segment, we're on the set with Pasolini as he shouts directions to Totò through his megaphone, and at the same time discusses the shoot with his crew. Naturally, authenticity often means people speak over each other, so it's hard to understand what is said. Then, Pasolini is asked by a journalist about his views on neorealism and here, the speech is clearer (and interesting), so don't give up!

Pasolini talks about how he moved from literature to cinema, and how his ideas about language changed. He talked about providing Italians with an opportunity to demonstrate racism, perhaps for the first time, with his movie, Accattone.

Chiara tells about how she realized she knew how to read, which then led her to begin writing. She wrote her first "novel" in second grade. Where she grew up, on the outskirts of Rome, influence her writing to a significant degree.

Pasolini talks about how artists are always controversial. They are a living protest. His protest involves language and national identity.

Pasolini talks about the Italian language and how it has been transformed over the years.

Pasolini talks about his first book of poetry and what he realized about his country when it was published in 1942. He explains why reviewers wouldn't touch it.

This documentary opens with some lines from a poem by Pier Paolo Pasolini, “10 giugno” from 1962. The famous filmmaker and poet talks about his life, beginning with his troubled relationship with his father.

Elena goes to see Giuseppe together with little Antonio. She notices right away that the apartment is empty. At the hospital, one of Mussolini's federal agents is visiting and gives Moscati some troubling news.

Arcangelo and Sister Helga don't like each other much, but they have to work together to save the patient. At home, at lunch, Giuseppe has a strange feeling and rushes off.

When Moscati arrives home, he has a huge surprise waiting for him: an endless stream of poor people. At the hospital, Sister Helga catches Arcangelo with a nurse and is furious.

As her condition worsens, Cloe tells Giuseppe about the child she had abandoned, and makes him promise to find him.

After being left by the taxi driver, Giuseppe goes in search of the Esposito home. The taxi driver was right about the danger. Meanwhile, Giorgio shows up at the dinner and greets Elena and her father.