November 2, 1975: Pier Paolo Pasolini is murdered in the outskirts of Rome. The suspect, a 17-year-old hustler, pleads to have acted in self-defense, citing Pasolini's notorious sexual habits as proof. However, many inconsistencies start to undermine his version, pointing to him not having acted alone or even being assaulted in the first place. Was Pasolini also killed for another reason?

A young student prepares his degree thesis on Pasolini and Bologna by investigating the relationship of the great intellectual with the city of his childhood and his studies. Following in the footsteps left by Pasolini in Bo­logna, the protagonist will tell, for the first time in the form of a documentary and with a rock narrative rhythm, the emotional, visceral but also controversial bond of Pasolini with Bologna until his final days, also characterized by severe criticisms of the “consumerist and communist” city, a symbolic terrain of the adverse social and economic metamorphosis from paleo­industrial to neo-capitalist society.

In the spring of 1970, between the African Orestiade and The Decameron, Pasolini shot a film for which he wrote a commentary in verses but never finished editing. The film was born as a typical Pasolini intervention: filming the strike of the garbage collectors in Rome, who at the time worked in dramatic health conditions, and filming the humility of their daily work, amidst the waste and scraps of society, in the squares and in the streets. Pasolini also filmed the faces of garbage collectors engaged in claims discussions and the result was an extraordinary anthropological picture of an unknown humanity.

An investigative film, an "investigative itinerary" from 1960 to 1975, in the story of Pasolini alive, in search of the political truth of his murder. A violent death in the world of homosexual prostitution. And the "truth" is definitely written in black and white. But what happened to the testimonies of the inhabitants of the Idroscalo? Through testimonies and visual archival material, the true story of the assassination of Pier Paolo Pasolini is reconstructed in the documentary.

Following the trip Pasolini made in 1959 along the entire coast of Italy as a reporter for the magazine Sucesso, they where located different places as possible scenarios for his death. Understanding cataloging as a tool that allows us to organize knowledge for recovery, this catalog offers the viewer the possibility of redemption of the rebellious individual or the questioning of our acceptance of the critical difference.

Pasolini seeks in Africa the peasant and revolutionary authenticity he had sought in the Roman villages. This hope will end in a new disappointment: Africa is a reservoir of irremediable contradictions that will explode in the massacres of yesterday and today. It is an Africa that starts from the outskirts of Rome, but thousands of non-EU citizens flock to the sub-proletariat of the villages.