Appunti Per Un Film Su Zio Vania

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.

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

A 1968 short documentary film by Pier Paolo Pasolini where he visits India in the search of a king who could give up his body to feed a starving tiger.

The story of the prince musician Carlo Gesualdo, known as Gesualdo da Venosa, who lived between the 16th and 17th century, told by the testimonies of musicians and musicologists such as Francesco D'Avalos, descendant of Maria, the unfaithful wife killed by Gesualdo.

Documentary filmed during the 1965 International Jazz Festival in Bologna, featuring appearances by musicians such as Gato Barbieri, Don Cherry, and Mal Waldron.

Reflections on the first films of Pier Paolo Pasolini with his considerations on the real language of cinema.

An encounter between two women: Sonia confesses to Elena that she would like to escape her town and her friend promises to help her.

Made for the Liguria program: 90 years of cinema. The precious superimposition of two diaries: the personal one, written and filmed by the director and his companions of moments lived in Manarola, and that of Telemaco Signorini, an artist focused on the Cinque Terre who feels the need to nourish his figurative obsession with theoretical insights for that same place where Amico's daily life takes place with Olympic prosaicity.