Rosalind Nashashibi showed her new 16-mm film, Carlo’s Vision, 2011, at spaces in both Milan and Rome. The dual venue signified not only a coproduction but also an amplification of the effect of a work that, in just eleven minutes, conveys a simultaneously lyrical and crude cross-section of a profoundly troubled country. The film was inspired by an episode in Petrolio (Oil), Pier Paolo Pasolini’s fragmentary and cryptic unfinished last novel, which was published posthumously in 1992. Petrolio made a crucial contribution to our understanding of events that occurred in Italy in the 1960s and ’70s,