Half a century after his documentary on Picasso, which was cut into various short films in Italy in order to distribute it more easily, Emmer returns to his own material to re-appropriate it and transform it: it would no longer be the asymmetric tale of an anonymous filmmaker who observes the genius painter in amazement, but a work created in complicity between the two authors reflecting on their two expressive means. It is half a tale that finally takes on the form sought by Emmer (the tale of a pigeon between two wars), and half a processual film in which we see Picasso create a mural that only exists in this film. Incontrare Picasso (Meeting Picasso) with the voice-over in the first person points towards the full expository and discursive authorship of Emmer’s two main essays: Bella di notte and Con aura…senz'aura.

In versione completamente rimontata rispetto al precedente Picasso (1954), realizzato in occasione della prima retrospettiva italiana su Picasso a Milano nel 1953, Emmer ritrae per la prima volta l'artista mentre lavora in pantaloncini corti nel suo studio a Vallauris, e lo vede iniziare e concludere un disegno in tempo reale, a testimonianza di tutta la sua grandezza artistica.