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 describes both his old and the new versions of Pollo Kiev (Chicken Kiev). Relatively simple and tasty, especially if you like butter!

Being a man of culture as well as an expert chef, Gualtiero Marchesi has found himself being inspired by artists. He talks of dripping food onto a platter, much as Jackson Pollock would drip paint onto a canvas.

Italian cuisine in the fifties reflected both the economic prospering, and the cultural growth of a population that had also begun opening up to new horizons through the birth of tourism.

Various experts talk about their memories of Milan back in the fifties: Sunday morning rituals of getting pastries from the "best," bars, eating big meals twice a day, the cathedral square with its tram and neon lights, and so forth.