For art historians, it is so interesting to try to figure out, with the materials at hand, what Piero wanted his work to finally look like, but it's a challenge, as the artist's initial sketches have been lost.

With techniques available today, it is possible to distinguish the various layers of plaster used on different days of work, to determine in what order the artists and their assistants applied the paint. And during the cleaning, details can come out that were previously not visible, including buildings and even letters of the alphabet.

Retouching the painting is a very delicate job, and is done in such a way as to be reversible, and respectful to the original.

We take a look at the details of Piero's Resurrezione, details we might not notice by looking at the painting as a whole. Why is Christ not dressed in white? Is there something special about the countryside in the background? The answers are fascinating.

Had the Resurrection always been in the same spot or had it been moved? We are taken through the questions journalists and historians have to ask: where, when, and why. A researcher, after much research, finally found the answer.

As a result of historical research and restoration, it was discovered that the Resurrection had not been painted on the wall on which we now see it, but had been transported from another location, likely the external facade of the building, under the arengario of Borgo Sansepolcro.

We learn some more about the origins of Piero's Resurrection and why it might have been commissioned. As with other works of art, the Resurrection likely had political symbolism as well as religious symbolism.

We learn more about how and why Piero's Resurrection was moved from its original position. It's fascinating.

If two important works of Piero's survived the bombings during World War II, it was due to the efforts of art historians and restorers such as Ugo Procacci. In addition to the Resurrection, a wonderful painting of the Virgin Mary as she was expecting a child, "La Madonna del Parto" was saved and is now housed in the museum in Monterchi, Arezzo.

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.

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.

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

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

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.

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!