La caza

This reminds me of that bleak Australian forgotten gem Wake in Fright where dusty sunbaked desolation brings out the worst animal instincts in a group of men, in this case five guys, old friends or acquaintances who haven't seen each other in years, who go out in the Spanish sierra to hunt rabbit. Whereas Wake in Fright at least on some level acquiesces to the idea that we're not perfect beings and revels in anarchy and amorality, Carlos Saura's film feels reactionary. Dialogue and characterization feels calculated to bring out the worst in the characters, they're fully unpleasant from the get go and staying out in the scorching midday heat under a makeshift tent makes them more irritable and frustrated. Their own deadend lives and petty concerns reflect their hunt - from a safe distance, picking off defenceless animals. This is something to pass the time, or worse, an excuse for not passing the time.

I like how Saura films the arid landscape in unflattering shots. This is not the picturesque desert of Lawrence of Arabia. This is an inhospitable patch of dirt where nothing grows and Saura gives us flat shots of dusty hillsides. I also like the frantic hand-held shots, of rabbits running amok through the sparse undergrowth, of the hunters inspecting their rifles and jerking them to aim at the distance, and now someone is nervously wiping sweat off his forehead and musing unpleasant thoughts in voice-over, suspicion or aggression. But everything feels calculated here, and Saura's political commentary does not go amiss. The owner of the hacienda where they go to hunt has discovered the skeletal remains of someone from the "war" (it could be the Spanish civil war, although one of the companions snaps irritably "does it matter which war?") and keeps them hidden in a cave. This is a category, a finger raised in outraged accusation against the worst in us.

This third feature of Carlos Saura is the one that put him on the map internationally. Made twenty-seven years after the end of the Spanish Civil War and with almost ten years of Franco's regime remaining this powerful film reeks of death and oppression.

It concerns four mucho macho men who meet up to enjoy the manly pursuit of rabbit hunting! As they begin stalking their quarry they begin to fan out as if on patrol. Three of these men are no strangers to patrols as they are veterans of the Civil War who fought for Franco and the area in which they have chosen to hunt is where some of the bitterest battles were fought. The fourth is the son of a former Falangist who has his father's German Luger to prove it. We soon realise that this hunt is merely a substitute for the real thing. As one of them casually observes: 'the best hunt is a manhunt'!

Many rabbits are successfully slaughtered but when one of the hunters shoots a ferret belonging to a local peasant the fragile cameraderie begins to unravel with devastating consequences........

This brutal, uncompromising piece is not an easy watch by any means but intensely gripping nonetheless thanks to Saura's taut direction, extensive use of close ups, Luis Cuadrado's stunning cinematography and the uniformly excellent performances. The bleached, barren landscape heightens the films effectiveness.

Apparently this film had a profound influence on a certain Sam Peckinpah. Well, it would, wouldn't it!

Intense psychological drama, obviously intended as a political allegory, relentlessly exposes its protagonists' toxic masculinity, suitably staged in stark black-and-white and a overheated barren landscape, entrenched in a whirlpool of absurd moments and violence (the hunting scenes are quite hard to take).

Full review on my blog max4movies: La Caza (international title: The Hunt) is a drama about three aging friends reuniting for hunting rabbits. The heat and talking about past mistakes make the men increasingly aggressive, until a catastrophe happens. The characters' backstories are told in an unconventional way and because of the wonderful cinematography the movie succeeds in presenting believable characters on the edge of a nervous breakdown. Although the hunt sequences overtly depict violence against animals and could have easily been toned down, the dramatic escalation is well-written, and the conflict between the men feels authentic.

Anyone who enjoyed Lord of the Flies or the Blair Witch Project should admire this chilling Spanish psychodrama, which is better than either. A few men are gathered for a day's rabbit hunting; it becomes apparent that they are well-to-do veterans of the Spanish Civil War. The place looks as desolate and barren as it is possible to imagine, and the heat is obviously intense. The men have memories of this godforsaken gulch, since it was a battlefield in the Civil War. As the day goes on, the scorching sun frays the men's nerves and sends them toward delirium, bringing out their inner weaknesses and their personal conflicts, normally concealed beneath a veneer of politeness. The end comes suddenly.

There allusions to the apocalypse (Luis is a poetical spirit who likes quoting Revelations, as well as science fiction). The setting is reminiscent of Ezekiel's valley of dry bones; Saura is wise enough to draw this analogy visually, without openly stating it. These men have great burdens on their consciences, which they are loath to admit, and they will pay dearly. A younger man invited along points up the contrast; he wasn't involved in the Civil War, or shady business dealings, so he is naïve and open.

One thing that makes this movie superior to the stuff we normally see is the lack of superfluous dialogue; there are long patches where subtle gestures or metaphorical images are allowed to speak for themselves. Even the music is restricted to a few muffled drumbeats or chimes, and these are used sparingly. This is a low-budget masterpiece which deserves comparison in style to The Isle (2000).

My only criticism is that the beginning is a bit slow; but you'll certainly get into it if you sit through the first ten minutes.