in his “Notes for a film on India” (1968), Pasolini points his microphone at representatives of the different castes that make up Indian society. The filmmaker’s humanistic gaze puts all these characters on the same level – a waterline, tragic and hopeful magma that, like the Ganges, reflects everyone just the same -, even though, in a more critical perspective, he cannot help but realize that the power structures crystallized in the past have not changed that much in modern, post-colonial and industrialized India. Completing his research without shirking irony, the filmmaker questions people from different social castes, asking them if, as is the case with the myth he is planning to adapt in a film, there would be today a maharaja willing to give his own body to feed the tigers about to die of starvation in his land. Diogo Costa Amarante (adapted)