The Hunter (2012)
Average Rating: 6.3/10
Reviews Counted: 23
Fresh: 18 | Rotten: 5
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Average Rating: 7.6/10
Critic Reviews: 9
Fresh: 8 | Rotten: 1
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Average Rating: 3/5
User Ratings: 3,088
Recently released from prison, Ali (writer-director Rafi Pitts) attempts to make the most of his return to Tehran, amidst much talk of the upcoming elections and promises of change. Forced to work nights, he still tries to spend as much time as he can with his wife and their young daughter, escaping the stress of urban life through hunting trips to the secluded forest north of the city. But one day, Ali's family goes missing-and after a long and fruitless experience with the police, Ali's own
Jan 4, 2012 Limited
Feb 28, 2011
Independent Pictures - Official Site
Policeman - Soldier
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Ossta Shah Tir
Malak D. Khazai
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This is a parable about modern Iran, and like many recent Iranian films it leaves its meaning to the viewer.
Cinematographer Mohammad Davudi's nighttime shots of jammed Tehran highways help convey the society's dehumanization.
Filmed during the months leading up to the 2009 presidential election in Iran, The Hunter still seethes with fury -- and anticipates the blood that would spill after the vote.
The clammy chill that pervades "The Hunter," the fourth feature film by the Iranian director Rafi Pitts, seeps under your skin as you wait for its grim, taciturn protagonist to detonate.
By the time you realize how stealthy the film's critique has been, you've already fallen right into its trap.
Pitts turns images of everyday urban sights - plaza steps, concrete apartment houses - into reflections of Ali's sense of emptiness and entrapment.
The film is stunningly composed, with images that convey Pitts' sense of being ground down by modernity and beset by institutional hypocrisy.
Writer-director Rafi Pitts manages an atmosphere of choked, ambiguous dread that recalls nothing less than Godard's Alphaville.
Moody and rather depressing, it's also haunting and utterly involving right to the bitter end.
Pitts is a solemn, silent presence and his director's eye ensures a succession of expertly composed images that each tell a story.
The biggest problem with the film is not its snail's saunter, but rather the minimalist way Pitts approaches the scripting.
A film with a split personality, it initially intrigues before eventually infuriating.
Seemingly destined to go largely under-appreciated, this is a work of precision and complexity.
Pitts ably conveys the bleakness of daily life and the accompanying mistrust of authority.
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