From Cinema Scope #46 (Spring 2011). — J.R.
Underneath the Persian credits, over heavy metal music, the camera roams around inside a colour photograph, grazing over pointillist surfaces and male faces — finally pulling back to reveal the Islamic Revolution Guard Corps in 1983, getting ready to drive their motorcycles over a huge replica of the American flag on the pavement in front of them. Cut to black and the film’s title, The Hunter.
Cut to a highway tunnel, then to a rifle being loaded in the woods, then to the same title hero (played by the writer-director, Rafi Pitts) holding the rifle in front of a raging campfire at night. Cut to an overhead shot of a busy Tehran freeway — then to a sinister carwash that seems to be located in the general vicinity of Hell, smoky fumes rising from the spray. And finally to the hero being told by a potential employer that as a convict he doesn’t qualify for a day job, he has to take the night shift. But as we discover a little later, his wife Sara already has a day job, meaning that when he takes the night watchman job, he’ll have little time to spend with her and their six-year-old daughter.… Read more »