Before The Hunger Games, there was a 1965 Italian satire about televised state-sanctioned murder.

Before The Hunger Games, there was a 1965 Italian satire about televised state-sanctioned murder.
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In short: In the year 2079, humanity avoids global war by turning homicide into a government-sponsored spectator sport. The 10th Victim, a stylish blend of pop art and social commentary, follows two elite contestants whose lethal game of cat-and-mouse is interrupted by an inconvenient, and potentially fatal, romantic attraction.

Directed by Elio Petri and released in 1965, The 10th Victim is a socio-political satire set in a future where violent impulses are channeled into 'The Big Hunt.' To prevent a fourth world war, the state mandates that citizens with aggressive tendencies participate in ten rounds of combat, alternating between hunter and victim. The winner of these televised duels gains immense wealth and the right to retire, turning state-sanctioned manslaughter into the world's most popular form of entertainment.

The film stars Marcello Mastroianni as Marcello Poletti, a veteran contestant, and Ursula Andress as Caroline Meredith, a hunter aiming for her tenth and final kill. While the original 1953 short story by Robert Sheckley featured a man hunting a woman, Petri’s adaptation flips the roles and introduces a comedic, romantic subplot. This shift was largely driven by producer Carlo Ponti, who mandated lighter elements against Petri’s original vision of a more pessimistic, science-fiction-heavy narrative. Filmed in Rome and New York City at the height of the pop art movement, the movie juxtaposes ancient architecture with futuristic, stylized aesthetics.

Though it performed below expectations in Italy, grossing just over 620 million lire, the film has since gained a cult following. It is widely recognized as a forerunner to modern media depicting televised death games, such as The Hunger Games and Battle Royale. Critics remain divided; while some contemporary reviewers found the satire 'excessive' and 'self-conscious,' others praised its visual flair. Today, it stands as a significant, if polarizing, piece of cinema that influenced later works, including the Austin Powers franchise, which famously borrowed from its distinct visual style.

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