In a time span of almost forty years, from the end of 1970 to the first 2000 a considerable number of things happen. For example, analogue electronic recording formats change and a man can move between countless, even if finite, places and cross thousands of situations, meeting hundreds and hundreds and hundreds of faces, conducting the most varied conversations in the most unusual moments of day or night. He can find himself for dinner, lunch, or breakfast along the riverfront of the Gange or in a cold bar of Berlin. Children grow up, lovers and governments change, an outrageous number of new films come out that can usually be seen in the same festivals or in cinemas. Sometimes friends die, some may be lost, new ones are found. Life happens, and when narrating it in may almost be everyone's life. For the man with the camera, however, it is different. After this incessant coming of time, he has on his side a huge quantity of recordings ready to be rewinded, to tell something that was never seen before. That man in this film is Enrico Ghezzi, the most brilliant and influential author of Italian television, the most painter and lyricist of cinema critics, the man who in an afternoon in a quiet Rome rose up: this film will be called The Last Days of Humanity.