The Autobiography of Pier Paolo Pasolini re-examines Porcile, one of Pasolini's least well-received films, in light of his own comments about and obvious affection for the work and in relation to his better-known films Teorema and Salò. The seeming opacity of the film is clarified by reading it as a parable not only about transgressions in closed societies but also, more specifically, about homosexuality, a subject that Pasolini, although he made no bones about his sexual orientation in real life, never fully explored in his films.