At the conclusion of Aureiio Grimaldi's Neroiio a title appears stating that: "The events and characters described in this film are the fruit of the director's imagination." For Grimaldi, whether the poet/film director he depicts resem­bles Pier Paolo Pasolini or not is a moot ques­tion. At best, this is Grimaldi's Pasolini, a representation that cannot be compared to the 'real' Pasolini.

In a series of episodes Nerolio illuminates the life of the aforementioned artist - travelling, dur­ing intimate sexual and domestic moments, strolling Rome after dark - culminating in his death at the hands of a young man he has attempted to seduce.

Disclaimers aside, Nerolio is a fabulous exami­nation and speculation concerning incidents in the final weeks of the life of an intriguing man. Grimaldi says that the unique dimensions of the 'real' Pasolini's personality lie in two factors, "His capacity for living life in addition to repre­senting it in its most unpleasant, offensive and thus revealing aspects."