One of the leading directors in the world, Milo Rau, sets the plot of the formative dramatic narrative of our western civilization, Aeschylus’ Oresteia, in the town of Mosul in Iraq. There, with Iraqi and Belgic actors, he stages a dramatically adapted and shortened version of Oresteia, and films it. The performance itself comes down to a re-enactment of certain scenes from the footage, with additional comments, context study, and a mix – as it often is the case with Rau’s performances – between documents and fiction, or in this particular case, between the unfortunate destiny of Iraqi actors and Aeschylus’ protagonists. It leads to a conceptually complex, multi-layered story in which the demise of Troy and the regal home of Argos is reflected through the demise of Mosul which got destroyed by ISIS terror and American bombing. Rau creates, in line with the majority of contemporary stage interpretations of Oresteia, ideological inversion, so when Aeschylus offers overall reconciliation, and the introduction of law, justice and democracy, the director wonders if those ideals are actually possible in the totally destroyed present-day political community.