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We’re with Pasolini over the last hours of his life, as he talks along with his beloved household and pals, writes, offers a brutally trustworthy interview, shares a meal with Ninetto Davoli, and cruises for the roughest tough commerce in his gun-metal grey Alfa Romeo. Over the course of the motion, Pasolini’s life and his artwork (represented by scenes from his movies, his novel-in-progress Petrolio, and his projected movie Porno-Teo-Kolossal) are always refracted and intermingled to the purpose the place they change into one.