Footage from newsreels, archives from various countries, photographs from art books and magazines: La rabbia, in its complex filmic body, is an indictment and a pointed polemic against Pier Paolo Pasolini’s contemporaneity. Pasolini moves from the Hungarian to the Cuban revolution, sifting through consumerism, industrialization and conservatism, celebrating instead their more progressive and decolonizing counterparts. In 2008, Giuseppe Bertolucci recovered the sections shot by Pasolini that were cut from the 1963 version co-directed by Giovannino Guareschi, restoring the Pasolinian section to its former glory: what remains of that voice is the fury of a man considered heretical and extremely lucid in his description of his time, with all its distortions.