This is a contemporary tragedy in which the present has already become the past. The peaceful and successful life of a Milanese capitalist on a family vacation is suddenly disrupted by nothing more than a dream. His attempt to understand its meaning turns into an obsession with controlling his son—an obsession that becomes increasingly destructive. When the father asks his son to kill him—an inversion of the Oedipus myth—the son flees, but in the end, he still falls victim to his father’s grasp. With this, history comes to a halt, and the transmission of the world between generations is severed.

In the epilogue, twenty years after the murder, the father, now a beggar, lingers in a train station, recounting his story to an imagined listener like an ancient histrion. But this is not just the story of a single father—it is a tale of humanity’s inherent violence, of the relentless need to possess, to know, and to understand everything. The son rejects both old and new forms of murder, shaking the father’s certainty and triggering his destructive impulse. Just as capitalism, patriarchal society is incapable of accepting change—it seeks only destruction. Through this narrative, Pasolini captures human existence within the inescapable chains of mythological fate.

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