Pier Paolo Pasolini (1923–1975) fashioned poetry, prose, cinema, and theatrical works, and how he conceived of the sacred is more thoroughly understood in relation to his working biography. Two films, The Gospel According to St Matthew and La Ricotta, together with his tragedies, overwritten on the Greek plays The Eumenides and Medea are here in focus, indicating why Pasolini drew on Mircea Eliade’s method of integrating historical, phenomenological, and hermeneutical approaches. Declaring himself a Marxist, Pasolini did not accept Eliade’s theory in full, while the two concepts that most link him to Eliade are the latter’s ‘eternal return’ and ‘hierophanies’. Pasolini had grown up immersed in the natural world of Friuli, Northern Italy, and he considered hierophanies as an immanent manifestation of the sacred in nature. In doing this, he discovered both the immensity of the archaic peasant world and the cosmogonic matrix of his religion. Pasolini’s ontological vision of being led him to define the eternal return as the cyclical time of nature, the movement of life in respect of the inscrutable laws of the cosmos and the transcendent supernatural. Cyclical time meant death and resurrection and thus the possibility of regeneration, like a seed that dies to become a plant.