Pigsty
Pigsty

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- 66/100 based on 3,826 votes

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.... (Full plot summary below)

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Actors in Pigsty:

Pierre Clémenti
Jean-Pierre Léaud
Alberto Lionello
Ugo Tognazzi
Anne Wiazemsky
Margarita Lozano

Full Plot Details

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.

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Movie Reviews

The Spectator - 8/10 by Penelope HoustonHere, it is the premise that is extraordinary, while the characters are mainly perambulating theories.
Chicago Reader - 8/10 by Jonathan RosenbaumThis isn't one of Pasolini's greatest films, though it's possibly the one that today best shows the warp and woof of its period.
Ozus' World Movie Reviews - 6/10 by Dennis SchwartzA difficult self-indulgent satire to enjoy.
CinePassion - 2/10 by Fernando F. CrocePasolini's freak-out is rigorously controlled, his political vaudeville is unsurpassable
User Review - 10/10 by Carlos MA great journey inside the human passions and their transgressions.
User Review - 10/10 by Trinity CPerhaps Pasolini's most complex and difficult film, a two-strand tale about firstly the son of a wealthy industrialist who likes having sex with pigs, and secondly a medieval cannibal whose motto is "I killed my father, I ate human flesh, and I quiver with joy." At first, the two tales appear to have little relation with one another, other than a shared focus on extremely transgressive desires. But on closer inspection, the cannibal seems to be the dream Id of the son of the bourgeoisie, and the mythic tale operates as the subconscious of the contemporary one. The style of the film is very cryptic and deliberately unapproachable but there is method in Pasolini's madness. The industrialist and his rival are comic figures of monstrous proportion, and seem to represent the old-style Capitalism, with its factories blotting the landscape of Western cities, and the new Capitalism, whose factories are out-of-site in some third world clime. The second capitalism is equated with Nazi-ism, and an uneasy truce is reached between the two faces of Capitol. It is in that truce that Pasolini seems to be suggesting that those of us in Western societies live our consumer lives. Probably his second bleakest film, after of course Salo.
User Review - 10/10 by Kat LTransgressive and intellectual with a violent poetry. Two narrative strands which are irrelevant to each other except for the common depravity. One, in a brutal past set in a beautifully barren landscape, a cannibal who even killed his own father to enjoy the human flesh. Two, the son of a Nazi industrialist who frequents the pigsties to rape the pigs, and strongly Marxist as Pasolini can. The film is very roughly edited, yet the duration spent away from the other narrative strand creates a suspenseful curiosity to return to the other story. An interestingly imperfect film to sink me into the depths, and sometimes soar with the futile on-screen intellectual exchanges.
User Review - 10/10 by Harpreet Sim gonna steal from other users cause i can't sum it up: "Pasolini intercuts the stories of two wanderers, one fugitive cannibal in a pseudo-medieval wasteland, and one ennui-addicted bourgeois slacker in a chateau built by his ex-Nazi father's blood money"--Adam Protextor "'I killed my father, I ate human flesh, and I quiver with joy!' I dare say the conclusion of Jean-Pierre Leaud's dark comic storyline is even more perfect than that of the cannibalistic morality play." --Kevin McCormick "The film flows like an argument. Crosscutting between two narratives, one set in a mythical past and the other in a German villa. Intimations of Marx, thesis and anti-thesis, but the result is poetically and philosophically stranger"--Facebook User
User Review - 10/10 by James CPerhaps Pasolini's most complex and difficult film, a two-strand tale about firstly the son of a wealthy industrialist who likes having sex with pigs, and secondly a medieval cannibal whose motto is "I killed my father, I ate human flesh, and I quiver with joy." At first, the two tales appear to have little relation with one another, other than a shared focus on extremely transgressive desires. But on closer inspection, the cannibal seems to be the dream Id of the son of the bourgeoisie, and the mythic tale operates as the subconscious of the contemporary one. The style of the film is very cryptic and deliberately unapproachable but there is method in Pasolini's madness. The industrialist and his rival are comic figures of monstrous proportion, and seem to represent the old-style Capitalism, with its factories blotting the landscape of Western cities, and the new Capitalism, whose factories are out-of-site in some third world clime. The second capitalism is equated with Nazi-ism, and an uneasy truce is reached between the two faces of Capitol. It is in that truce that Pasolini seems to be suggesting that those of us in Western societies live our consumer lives. Probably his second bleakest film, after of course Salo.
User Review - 8/10 by George MTwo alternating tales, each with a neglected young adult male protagonist, one early modern (not medieval) and poor, the other late modern and rich, both animalized. Puzzling and thought-provoking.

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