We are with Pasolini during the last hours of his life, since he talks with his cherished relatives and friends, writes, gives a brutally honest interview, stocks meals with Ninetto Davoli, also cruises to the toughest demanding trade in his gun metal gray Alfa Romeo. Over the course of the action, Pasolini's life and his own art (represented by scenes from his films, his novel-in-progress Petrolio, and also his projected film Porno-Teo-Kolossal) are constantly refracted and siphoned into the point at which they turned into one.