We are with Pasolini during the last hours of his life, as he talks with his cherished family and friends, writes, provides brutally honest interview, shares dinner with Ninetto Davoli, also cruises for the toughest demanding trade in his gunmetal grey Alfa Romeo. Over the duration of the actions, Pasolini's life and his own art (symbolized by scenes from his films, his novel-in-progress Petrolio, along with his projected picture Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.