The director of such infamous screeds as Teorema (1968) and Salo (1975) but foremost a poet, Pier Paolo Pasolini is a cinematic giant whose violent death only burnished his legend. Pasolini’s Last Words is an experimental essay that pays lyrical tribute to an unconventional creative genius. Frequently veering away from classic narrative in favour of exploring the cinematic image more freely, Crane’s documentary combines archives, misaligned frames, superimpositions, slow-motion, freeze frames, repetition and animation, for reflection. Divided into abstract chapters, the film features multiple voices—not just those of Pasolini and his characters, but also that of the filmmaker. Fascinated by the hotheaded young men from Accatone (1961), Crane tries to understand what makes them tick. Her off-screen narration evokes our relationship with reality as well as Marxism, freedom, religion, social engagement and sex, which she sees as clearly political and imagines as a metaphor for what power can do to the human body. The instantly recognizable figure of Pasolini is a constant presence throughout the film, which alternates music-only sequences with fascinating discussions, including the director’s powerful final interview. An elegiac portrait of an accursed artist, Pasolini’s Last Words challenges and pushes the boundaries of art film.