Ezra Pound, an acclaimed modern American poet living in Rapallo, was tried for treason because of his radio broadcasts extolling Mussolini. This is Pasolini's interview with him.

A beautiful smiling guy's walking on the streets of a city, bringing with him a large paper poppy. The boy is the goodness and innocence of youth, which is soon cut short by human wickedness.

Ciancicato Miao and his son, after the death of his wife and mother by mushroom poisoning, are dedicated to find her replacement and have no luck until they find a mysterious deaf mute green-haired woman.

1970年春天，在拍摄《非洲奥瑞斯提亚》与《十日谈》的间隙，帕索里尼拍摄了一部影片。他为这部影片撰写了诗体解说词，却始终未能完成剪辑。这部影片的诞生源于帕索里尼标志性的社会介入——记录罗马清洁工人的罢工运动。当时这些工人处于极其恶劣的健康条件下工作，帕索里尼用镜头捕捉他们在广场街巷间，于社会废弃物中从事日常劳作的卑微身影。他还记录了清洁工们进行诉求讨论时的面容，最终呈现出一幅展现未知人群的非凡人类学图景。

1963 film by Pier Paolo Pasolini

Appunti per un film sull'India is a 1968 short documentary film by Pier Paolo Pasolini where he visits India to do a recces for his proposed film with India as its background about a king who gives up his body to feed a starving tiger. The film was shot around post-independent India when it was facing grave challenges of poverty, population and caste system. Pasolini narrates the challenges of India and its charms amidst all the problems the country faces. The 33-minute-long documentary is composed of short interviews from random people about their opinions on matters such as family planning. The documentary also shows short interviews of journalists and one politician about the challenges India faces in modernizing itself without becoming westernized or losing the Indian identity in the process. The film opens and ends with a shot of a Sikh soldier, who, Pasolini identifies, in his commentary, as the one who would play the role of Maharaja in his film. Among others Pasolini interviewed for his film the former Maharaja of Bhavanagar and his wife and well-known Urdu story writer and filmmaker Rajinder Singh Bedi. The documentary was shot in many places including New Delhi, Jaipur, Rishikesh and Varanasi etc.

此片是帕索里尼和极左组"不懈斗争"合作拍摄的，这个组织本身就牵扯进影片里相关的事件颇深，影片内容也相当激进。1969年12月12日，一枚炸弹在米兰喷泉广场的农业银行爆炸，导致16人死亡。该事件当时马上被政府归罪为左翼无政府主义者所为，并对左翼组织展开大规模追捕。实际真相扑朔迷离。

The director presents takes and scenes filmed on location in Africa for a film-that-never-was, a black Oresteia.

Tommaso Puzzilli is a boy who grew up in the suburb of Pietralata outside Rome. Not having a job, Tommaso and his friends are committing crimes to make money.

The film consists of six short stories created by different directors, but all the stories share one thing: a warm irony to current events.

"The Witch Burnt Alive" After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous. "Community Spirit" Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through. "The Earth Seen from the Moon" The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific. "The Sicilian" Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories. "A Night Like Any Other" Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a couple injured in a car crash. A man, stripped of his identity, dies in bed with actors expressing his agony. A cheerful, innocent young man walking a city street in a time of war pays a price for this innocence. A couple talks about cinema while it watches another couple talk of love and truth on the eve of one character's return to Cuba. Striking students take over a university classroom; an argument follows about revolution or incremental change.

Four short films by four different directors dealing with the principles of modern life.

Documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation", and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for man's future.

本片根据意大利著名导演帕索里尼制作的新闻电影片段整理修复，影片以新闻影像为素材，加入了电影拍摄画面和旁白诗歌，诠释了十九到二十世纪的大量西方历史事件，具有珍贵的政治和人文价值。

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.

A man and his son take an allegorical stroll through life with a talking bird that spouts social and political philosophy.

Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where do babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.

1964 film directed by Pier Paolo Pasolini