The remarkable Love Meetings is nothing less than a cinema-vérité Kinsey Report – with occasional Godardian touches – on Italian sexual mores in the 1960s. Traveling across Italy, Pasolini and his camera interview people on the street, sunbathers at the beach and soccer players on the pitch about their attitudes towards marriage and divorce, homosexuality, prostitution, machismo and gender roles. While a notable consensus agrees that things are changing it remains less clear what, if anything, these changes mean. In one of his few essays on cinema, Michel Foucault wrote admiringly of the film’s ability to capture the complex ambiguity of reactions to the so-called “sexual revolution.”