Smart wild and disturbing film that just debuted on

Smart, wild and disturbing film that just debuted on Netflix and makes 90 minutes feel like the rest of your life

There are two groups of people: victims and executioners. The first require from those who want to integrate it the courage of soldiers going to war and many of them love war only for what it represents for themselves, nothing with respect for values ​​like homeland, honor, Traditions, dear to all people who consider themselves civilized, who consider themselves worthy of the attention of the rest of the world. Obeying his most primal instincts, Man let himself be intoxicated by the smell of burning gunpowder and refrained from diplomacy without batting an eyelid, preferring to settle his disputes by force when good conversation would attempt to avoid slaughter that not infrequently because of this begins a minor misunderstanding. Despite the innumerable mysteries of existence, much more than our vain philosophy has power to imagine, as this English poet said, we must guide our conduct by the severity of life as it is and by its uncompromising defense. We try, some less than others and some with conviction, and therein lies the danger. There are a thousand paths through human and human life, and all, no matter how straightforward they may seem, all lead to a single end: perdition.

Everyone’s life makes a movie, and that’s why life should be sacred, no matter who we’re talking about. We are all endowed with our great qualities and weaknesses that humble us but also make us worthy, but only if we recognize them and are not proud or ashamed, and so they serve us with some comfort and much learning. Craig Zobel centers philosophical discussions of very high power in the thriller The Hunt (2020), in which he dares to comment on the grotesque way in which those excluded in life’s noble hall are viewed by those above. Here, Zobel redoubles the rawness and descends to the abysmal depths of the human spirit, convinced that his metaphors about arming civilians, racism, social prejudice of the rich against the poor (or less rich) can be taken as a benchmark for comparison by peripheral nations determined) and political intolerance all these devices, meticulously engineered by the most nebulous side of the human soul to, with more or less force, subjugate the human soul itself hit targets no bullet can reach.

There are particularly tasty moves in “The Hunt”. The script, written by Damon Lindelof and Nick Cuse, begins with Richard, the multimillionaire played by Glenn Howerton, humiliating Teri Wyble’s flight attendant Liberty, but with the subtlety of someone who only frequents first class on luxury airliners. Lindelof and Cuse’s text contains such delicacies as asking Liberty to offer Ossetian caviar to Richard, which the latter refuses because he had already eaten it the night before and was certainly fed up with the delicacy. Howerton’s character retorts if she’s ever tasted caviar, and Liberty’s embarrassment is almost palpable when she’s forced to admit that although she’s served it countless times throughout her career, after all, she could never have known what caviar was. Semantic delicacies of this magnitude are only the starting point for the merrygoround of barbarism that defines the pursuit of the title, sequences characterized by the team’s care for visual effects, and for the photography of Darran Tiernan, masterful at it, both in the Scenarios to compose well outdoors as well as in the sunlight as in the scenes where the twilight foreshadows the suspense that will last until the end when the flight attendant Liberty carries out her sublime revenge sponsored by a not so sweet woman.

Betty Gilpin enters the story under the terrified gaze of Emma Roberts. The two are laid out like animals in the open field as if dying as they are gagged with an object that they can only get rid of if they find the key. Known as Yoga Pants, Robert’s character embellishes the picture, but it’s the harshness of Gilpin’s straight lines that dominates the plot. Her Crystal Creasey is the typical antiheroine, far less interested in the good of the community than in saving her own skin. A few passages later, what is being said is clear: a legion of humans were drugged and taken to an unsafe location, possibly in Eastern Europe, to serve as a hunt for anyone who could pay for the game.

In fact, Gilpin endorses the film. Crystal gives a practical dimension to the unsustainable political tirade about left and right deceit, and may even invent a new modality of feminism based on the imitation of what patriarchy has most odious, which surely displeases everyone. The brutality with which Zobel takes his film even becomes acceptable, a magic achieved above all by Gilpin’s understanding of his protagonist, a woman who has no time for Mimimi.

Movie: The hunt
Direction: Craig Zobel
Year: 2020
Genres: Thriller/Horror/Action
A notice: 8/10