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 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.

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.

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.

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.

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.

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.

Borgo Sansepolcro is an out-of-the-way Tuscan city. But, as this video sets out to explain, it boasts one of the most beautiful paintings in the world, so it is well worth the journey. The video begins with some passages from a 1925 essay by Aldous Huxley: “The Best Picture.” We have translated the Italian translation back into English, for learning purposes, but you can find the original English version here.

The host describes the fascinating story of a British army captain who, during World War II, happened to have read Aldous Huxley's words (quoted in the previous segment), and remembered them just in time.

Restoring the Resurrection was a lengthy and complex process, consisting of reinforcement, cleaning, and the retouching of the painting itself.

The restorers take us through the meticulous cleaning process involving Japanese rice paper, a gel made from marine algae, and a solvent.

Piero was not just a painter; he was a member of an important family in Borgo Sansepolcro. There is a fresco painting attributed to him that might have alluded to the family business, which was producing and selling leather goods.

It's rare for a work of art to become the symbol of a city and even be part of its coat of arms, but this did indeed happen in Borgo Sansepolcro. Piero's Resurrection may be thought of as a fresco, but it's much more complicated than that, as we learn in this segment.

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.