The filming of a movie about Jesus’ death deeply affects three people — an egotistical director who cast himself as Christ, the actress playing Mary Magdalene who cannot bring herself to leave Bethlehem and a TV journalist whose spiritual doubts start to consume him.

Three stories that provide an irony-laden analysis of the Neapolitan bourgeoisie and of small-time intellectualism and aspiration.

We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art are constantly refracted and intermingled to the point where they become one.

A detective suspects an unreported serial killer is preying on the population of a college town, luring in his victims through online video chats and assuming their identity after the murder.