Written for the January/February 2012 Film Comment. — J.R.
(Rafi Pitts, Germany/Iran)
A Separation, equally pleasing to mullahs and Western viewers, got all the prizes for its clever manipulations, but Pitts’s singular puzzle thriller, which also strategically withholds narrative information and can never be shown in Iran, is the one I keep thinking about. (Class warfare is the true, undeclared subject of both films.) Pitts plays a Tehran night watchman who starts shooting cops at random after losing his wife and child just before the country’s stolen election. The film’s second act shifts radically in style, locale, and focus, like On Dangerous Ground. —Jonathan Rosenbaum
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.… Read more »