Though differing in tone, these episodes share a number of thematic similarities, such as (mis)communication and the clash of cultural and religious practices. Notably, each depicts an encounter in some form or another between American soldiers and the Italian locals. In the engaging second tale a wily street thief meets an African-American in Naples. In the poignant third, which stars Rome, Open City's winsome Maria Michi, a drunken GI shares an interlude with a Roman prostitute.

With its colourful cast of travelling performers and its puppet show interlude, the second instalment seems to reveal most clearly the influence of Federico Fellini, who co-wrote the film's Oscar-nominated screenplay and also acted as assistant director. Fellini's experiences on this film convinced him to shoot his own debut, Lights of Variety, for which he called upon the expertise of Paisà's cinematographer, Otello Martelli.

Filmed on location throughout Italy, Paisà typifies Rossellini's naturalistic approach to filmmaking. Here, as in his other neorealist features (especially Germany, Year Zero), he draws some fine performances from his younger non-actors. Alfonsino Pasca in particular shows up the occasionally wooden turns of his American elders.