The famous painter of “La Vucciria” analyzes the work of another artist, in this case David and his Dead Marat, emphasizing how many artists love the works of others and often draw them to study their composition, geometry, and profound beauty. This, says Guttuso, is a severe, austere painting, devoid of any rhetoric.

A documentary from the RAI archives exploring the life, works, and political commitment of one of the greatest innovators of Italian neo-realist painting.

A film of Enrico Berlinguer's funeral in Rome, briefly tracing his career as leader of the Italian Communist Party.

Based on a supposed screenplay by Fellini that fell out of a window, Arbore tells the southern story of a shaggy-haired Neapolitan girl, a toilet attendant, who arrives in the foggy north to become a singer, and whom he becomes her boorish manager.

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.