The young man, simply described as the Young Cannibal (Pierre Clémenti), who by film’s end admits that he has killed his father, seems to have been ostracized by society, and is now, apparently, is starving, killing a passing soldier and consuming him, later accumulating a rather ragtag band of followers who terrorize the neighborhood. He and his group are finally captured by soldiers and sentenced to death, while the Young Cannibal strips himself naked, shouting "I killed my father, I ate human flesh and I quiver with joy" before he is killed.
played the memorable female hero of Robert Bresson’s Au Hasard Balthazar), a woman who seems, much like Fassbinder’s Economic Miracle women, very much at home in the new society, apparently has a secret love, and will not travel with her nor commit himself to marriage.
While we certainly recognize that Pasolini is making some highly political commentary in comparing what appear to be ancient medieval systems with the Wirtschaftswunder and, by association, with the Third Reich--the very same connections made, more brilliantly by Fassbinder a few years later, particularly in his In a Year of Thirteen Moons--there is still something fetching and disconnected in his tales. Yes, the Young Cannibal of the lover of pits may be the natural result of their parental desires for vast power and wealth, but Pigsty doesn't really reveal that, but merely points to it, almost as if it should be self-evident.