In both Theorem and Pigsty, Pasolini seeks to synthesize the mythic strain that surfaced in Oedipus Rex with the stridently political filmmaking emerging in Europe in the second half of the 1960s and epitomized by Godard’s film. In a nod to the French director, Pasolini reunites the lead couple from La Chinoise, Jean-Pierre Léaud and Anne Wiazemsky, who appear in one of Pigsty’s two parallel plots, this one set in the present, with Léaud as the son of a wealthy businessman whose lack of interest in his fiancée betrays an unorthodox sexual predilection. The other story takes place in an unspecified prehistoric past, where a brutish barbarian scrounges for food in an archaic landscape ravaged by primitive warfare. Pigsty acts as a crucial missing link between the critique of Theorem and the darker depictions of savagery to come.