Lola Pagnani
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 (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.
On his death bed in the 1820s, King Ferdinando I of Naples tries to escape the ghosts of his bloody kingship by remembering his younger days, when he was allowed to go hunting and have fun, and inventing love games. Then he was obliged to marry Mary Caroline of Austria, daughter of Empress Mary Theresa, in a political marriage: unexpectedly, they became happy lovers, until court power games divided them, and a different historical season arrived.
