We are on the set of Salò or the 120 Days of Sodom. Despite the storm of controversy generated by the film, Pasolini is relaxed, almost joyful. He lets a small camera team led by the journalist Gideon Bachmann follow him around, engaging him in a long and extraordinary interview/conversation.
Initially uncertain, Pasolini transforms the interview into a long, clear-sighted and violent attack on society that accompanies photos of the set in a surprising juxtaposition of film and reality, revealing Pasolini’s metaphorical portrait of modernity.