Pasolini's documentary on his preparations to film a modern-day version of Aeschylus's Oresteia in Uganda and Tanzania was called by critic J. Hoberman “a key to an understanding of the particular Freudian-Marxist-Christian world-view that was Pasolini's. . . . Aeschylus's myth of the first human tribunal-with its climactic transformation of the archaic Furies into the civilizing Eumenides-had, Pasolini thought, a special relevance to the situation of underdeveloped societies in the throes of modernization. The film, however, was never made. What we have here is mainly handheld 16mm footage . . . on a 1970 location-scout through Tanzania and Uganda. The director scours remote villages for possible Agamemnons, reconnoiters crowded marketplaces, and documents local rituals, all the while keeping up a running meditation on the third world and his imagined film.”