Clever, wild and disturbing, this movie that just debuted on Netflix will make 90 minutes the rest of your life.

There are two groups of people: victims and perpetrators. The first asks those who intend to join it for the courage of soldiers going to war, and many of them only love war for what it represents for themselves, nothing to do with respect for values such as the fatherland, the honor, the traditions, the dear to any people who believe themselves civilized, who consider themselves worthy of the consideration of the rest of the world. Obedient to his most basic instincts, the man allowed himself to be intoxicated by the smell of burning gunpowder and abdicated diplomacy without flinching, preferring to settle his differences by force when a good conversation would try to avoid the carnage that quite often begins because of an unimportant misunderstanding. Despite the innumerable mysteries of existence, far more than our vain philosophy has the power to imagine, as that English bard said, it is by the rigor of life as it is and by its uncompromising defense that we must guide our conduct. We try, some less than others, and some with conviction, and the danger is precisely there. There are a thousand paths in the life of a man and of humanity, and all of them, however straight they may seem, lead to one end: perdition.

Everyone’s life gives a film and for this very reason, living should be sacred no matter who we are talking about. We are all endowed with our great qualities and weaknesses which humble us, but also make us worthy, but only when we recognize them and are neither proud nor ashamed of them, and this is how they serve us with a certain comfort. and lots of learning. Craig Zobel centers some very high-powered philosophical discussions in the thriller “The Hunt” (2020), in which he dares to comment on the grotesque way in which those barred in the noble hall of life are viewed by those above. Here, Zobel redoubles the load of crudeness and descends to the most abyssal points of the human spirit, convinced that his metaphors on the arming of civilians, racism, the social prejudices of the rich against the poor (or less rich, to be taken as a measure of comparison determined by peripheral nations) and political intolerance – all those devices meticulously devised by the most nebulous part of the human soul to, with more or less violence, subjugate the human soul itself- even – hit targets that no bullet can hit.

There are some particularly tasty moves in “The Hunt.” The screenplay by Damon Lindelof and Nick Cuse opens with Richard, the multimillionaire played by Glenn Howerton, humiliating the air hostess Liberty, by Teri Wyble, but with the subtlety of someone who only frequents first class luxury planes. There are gems in Lindelof and Cuse’s text such as having Liberty offer Ossetian caviar to Richard, which he refuses as he had already eaten it the day before and was certainly fed up with the delicacy. Howerton’s character retorts by wanting to know if she’s ever tasted caviar, and Liberty’s embarrassment is almost palpable at being forced to admit that, despite having served it countless times throughout her career, she could never, after all, have known what it was. caviar. Semantic delicacies of this magnitude are just the starting point for the carousel of barbarities that defines the pursuit of the title, sequences that stand out for the care of the visual effects team and for the photography of Darran Tiernan, masterful for many compose both outdoor and sunny scenarios as in the scenes where twilight insinuates the suspense that will last until the end, when the air hostess Liberty carries out her sublime revenge, sponsored by a not so sweet woman .

Betty Gilpin enters the story under the frightened gaze of Emma Roberts. The two have been stretched out like animals in the open field, as if left for dead, since they are gagged with an object that they can only get rid of if they find the key. Known as the Yoga Pants, Roberts’ character embellishes the picture, but it’s the harshness of Gilpin’s straight features that dominates the plot. Her Crystal Creasey is the typical anti-heroine, much less interested in the good of the community than in saving her own skin. A few passages later, what is said is clear: a legion of people have been drugged and taken to an uncertain location, possibly in Eastern Europe, to serve as a hunt for anyone who might pay the joke.

Gilpin is the one who, in fact, supports the film. Crystal gives a practical dimension to the political discourse on deceit left and right, which is unsustainable, and perhaps even invents a new modality of feminism, based on the imitation of what is most vile of patriarchy. , which certainly displeases everyone. The brutality with which Zobel chooses to take his film becomes even acceptable, the magic is largely achieved thanks to the way Gilpin understands his protagonist, a woman who has no time for mimimi.

Film: The hunt
Direction: Craig Zobel
Year: 2020
Genres: Thriller/Horror/Action
Remark: 8/10

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