Some pannings of Rivalta and Mirafiori introduce the theme of endless and increasing problems in the automotive world, and all the research and innovations efforts to face them. But soon the official tone surrenders to the rhythm of images, more and more abstract and pressing, on the same wave...length as Vittorio Gelmetti's score, going on with his researches in concrete music he had begun in 1964 with Antonioni's Deserto rosso, which, again in 1969, led him to collaborate with the Taviani brothers (Sotto il segno dello scorpione) and Ansano Giannarelli (Sierra maestra).
