Isla Margarita, Venezuela. Enzo G. Castellari, famous B-movie director, has a big towel knotted around his neck. He is waiting for the barber, who will be there shortly. A star like him would not be satisfied with a normal barber, though; the director of “Keoma” and “The big racket” needs somebody important. So, here is Pino Ferranti, Lucio Fulci’s favourite make-up artist, equipped with scissors and comb. Castellari talks about films, his style and overall about the slow motion technique: he explains why he likes it so much, when he discovered it and who, in the Seventh Art, are his models. He talks about how to make a good slow motion, how many frames are needed, how to edit it. In the meantime, we see him on the set of his last film, “Caribbean Basterds”: he is preparing the shots, directing the actors, checking the costumes. Nevertheless, it is not a making of, as the title could suggest. In some parts it is a documentary, in some others a film in the film: there are, in fact, pure fiction scenes. Sometimes you suspect that “Caribbean Basterds” does not exist, that it is all an act, a mise en scène: like when the troupe, suddenly, is caught in a storm.