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.

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 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.

Gualtiero Marchesi is an artist, using food to express his creativity. He's also headstrong, and doesn't easily accept other people's ideas. Step by step, he shows us how to make his famous open ravioli, beautiful to look at, and wonderful to taste!

This is the last segment of a series of interviews focused on one of the greatest film directors of all time. Fellini, in saying he doesn't have much to say, says it all.

Fellini talks about Rimini, his hometown, and how his memories, dreams and fantasies of that place are connected to his films.

To please a reporter, Fellini sits and describes a typical day spent at Chianciano Terme, where he has gone for its healing thermal waters. Chianciano happens to have inspired one of his best known films, and he still sees it as a movie set. Fellini goes on to reminisce about Sundays in Rimini, and admits that his memories are a mix of fact and fantasy.

Federico Fellini and Ingmar Bergman, two of the most important film directors in international cinema, discuss a joint project. They come from completely different worlds, but have some important points in common. Fellini's film, Satyricon is in the spotlight at the Venice Film Festival of 1969.

Italian TV is broadcasting from the set of Fellini's Satyricon in Cinecittà as well as from the show, Canzonissima, a well-known variety TV show being hosted in this case, by Mina (one of Italy's most famous pop singers).