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.

Federica demonstrates the final stages of making the Colomba. Once ready, she cuts it open to show us what it looks like on the inside, with its particular consistency.

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.

Valentina's success coincided with the beginnings of feminist movements in Italy. She depicted a woman who was strong and independent, who could do anything a man could do, a departure from the stereotype of the Italian housewife.

In 1963 Crepax got his start in the world of comic books and two years later created his famous character, Valentina. The comic strip first appeared in the anthology comic book, "linus," founded by Giovanni Gandini, who had known Crepax as a kid.

After talking about the past, Vera and Giuliano talk about what they'd like to do in the future: There are places to visit and revisit.

Vera and Giuliano are each true fans of the other. But Vera can't help preferring Giuliano's directing artistry to his acting skills.