In search of an unprecedented look at Pasolini's poetics, Giuseppe Battiston retraces the Friulian territories - the land of Pasolini's mother - collecting the voices of the people who live there and knew him: from Casarsa della Delizia, with Casa Colussi, home of the Pier Paolo Pasolini Study Center, and the Bar degli Amici, in Versuta with its little church, where Pasolini opened a school with his mother, from Aquileia (where the filming was carried out thanks to the support of the Municipality of Aquileia) and surrounding areas to the Di lagoon Grado, set of the film "Medea". "I simply try to start again from these beloved timeless campaigns and from its roots - says Battiston at the beginning of his journey. "Roots that are in these places but also and above all in a woman, his mother, and thus listening to her and, with her, to the women who in some way were close to him and important companions in his life. Maybe it's like taking a secondary road, a detour, and who knows if from there I won't be able to hear Pier Paolo's living voice even more clearly". The docu-film goes through the fundamental junctures of Pasolini's life to reconstruct his cultural heritage and the more human and personal aspects: from the family's economic difficulties during his childhood, the difficult relationship with his father and with his own homosexuality and the consequent sense of guilt, the scandal and the trial after the Ramuscello events of 1949, the completely personal bond with the sacred and religion, the political commitment and esteem for Gramsci, up to his second part of life in Rome, from the successes literary to the transition to cinematographic art. And then the meetings with personalities such as Totò, Alberto Moravia, Ninetto Davoli, Eduardo De Filippo, of whom video interviews are offered in which they tell personal anecdotes about the director. A story punctuated by the most intense and indissoluble female bonds that Pasolini formed in his life, true platonic loves unrelated to eros. Five female figures very different from each other but united by their being non-conformist, passionate and passionate, capable of combining with the sensitivity of an artist who has left an indelible mark on culture, not only Italian and capable of a very profound relationship with the feminine. Above all, the symbiotic bond with her mother Susanna stands out, who she wanted to hear every day, even at the cost of traveling 50 kilometers in Africa to reach a public telephone, and to whom she wrote in a poem "You are the only one in the world who knows of my heart what it has always been, before any other love". A feeling widely reciprocated - for her Pier Paolo was her "little prince" - and gradually strengthened by the hardships of life. Art and literature are instead the basis of the relationship with the Jewish poet Giovanna Bemporad, great translator of the Classics. Having met in Bologna, between high school and university, Pasolini called her to Versuta to help him with his little school. Oriana Fallaci also felt esteem, friendship and affection for him, as demonstrated in her "Letter to Pasolini" (14 November 1975): "There was a feminine sweetness in you, a feminine kindness. After all, your voice also had a feminine quality, and this was strange because your features were the features of a man: dry, ferocious. (...) But when you spoke or smiled or moved your hands you became gentle like a woman, gentle like a woman. And I felt almost embarrassed to feel that mysterious transport for you." Laura Betti was instead the hostess who introduced Pasolini into the living rooms of Roman intellectuals, the friend in love, "non-carnal wife", priestess of his inheritance, who will dedicate her entire life to giving him justice and truth. Who learns to understand and love the Capital "through the poetry of Pier Paolo; that is the Rome that I love, even if it doesn't belong to me, because I am extremely bourgeois." Finally, it is a special complicity that binds him to Maria Callas: if he was fascinated by her for the "total violence of her unrestrained feelings", the complex workmanship of "Medea" in 1969 and the director's gaze that went beyond the diva sacred scene instead gives her a new artistic awareness, a passage that culminates in violent and unattainable love with Pasolini.