The poor condition of the Bianchina the expert is restoring does not make the car any less iconic. Let's see what characteristics impact the valuations of two different models.

The green Bianchina is not in very good condition, beginning with the engine, where there are serious oil leaks. René Arnoux, in the driver's seat, discusses the dashboard with its buttons and lights.

Reneé Arnoux tries out a Bianchina, and seems to like how it handles on the road. Carmine Sessa tells us a little bit about the history of the car.

What stands out in this segment is the fact that the Bianchina was the iconic automobile in the beloved 1975 movie, Fantozzi.

We have a look inside the 12-cylinder engine of the Testarossa to see what kind of grade it will receive out of ten.

René Arnoux is back, telling us more about the Ferrari Testa Rossa, and some interesting facts about the evolution of the name. He also mentions the famed TV series, Miami Vice.

The Testarossa (literally "red head") is considered to be a supercar par excellence. For a brief period, it was the fastest production model in the world.

Here are two cars symbolizing the dream of many Italians: The Ferrari Testarossa and the Autobianchi Bianchina. Let's discover their stories.

As the credits role in this final segment, we hear a song written and performed by Fabrizio De André (together with Massimo Bubola. Una storia sbagliata (a story all wrong) was commissioned for a 1980 TV show about Pasolini's death, called Dietro il processo (behind the trial). You can hear the entire song here, while here you'll find the complete lyrics in Italian.

Pier Paolo Pasolini discusses the effects Fascism had on Italy. He talks about the city of Sabaudia, built by the fascist government on the reclaimed marshland of the ancient Pontine Marshes (Agro Pontino) and how later, what took hold was the culture of consumerism.

Pasolini talks about the gates to the city of Orte. They may be simple, and built by unnamed men, but that doesn't mean they don't have value to protect. He moves on to talk about Sabaudia, a city built by the fascist regime, on reclaimed marshland, roughly halfway between Rome and Naples.

Pasolini explains the difficulty of framing a city through the lens, only for it to be ruined by modern buildings that seem to have nothing to do with the form of the city itself. He wants anonymous, simple poetry to be preserved just like the works of Dante and Petrarca.

Still on the beach, Pasolini asks more people their opinions on divorce, which became legal in 1970. The second part of this segment is part of a 1969 episode of Processo alla tappa, a TV talk show devoted to the Giro d'Italia (the Tour of Italy), a famous, 21-stage bike race.

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.