Time Out says
The next few moments have genuine shock value in the context of today’s Iran, though the tone and feel of Pitts’s film hark back to the cult classics of late-’60s and early-’70s Hollywood: think Peter Bogdanovich’s provocative ‘Targets’, the vistas of soulless LA in Antonioni’s ‘Zabriskie Point’, or the questioning bleakness of a Monte Hellman. While the plotting leaves the protagonist feeling cornered, Pitts also uses sound and image to convey the isolating oppression of everyday Iran, so allowing us to understand (if not necessarily condone) his character’s extreme actions. Controlled colour, seemingly naturalistic locations visualised in tellingly expressive compositions, startling use of heavy-duty percussion on the soundtrack: the all-encompassing formal precision builds on the achievement of Pitts’s previous ‘It’s Winter’.
The point here, though, isn’t just a howl of protest, but, as events move towards an intimate and decisive confrontation, it’s a challenge for authorities and dissidents alike to consider the human cost of continuing conflict. Sombre and piercing, ‘The Hunter’ courageously defends the right to voice resistance.
Cast and crew