Cinematic rethinks of basic fairytales, particularly Crimson Driving Hood, are a micro-genre about as exasperating and banal because the “12 months X known as and it desires its Y again” joke. In Hunted’s case insert, 1985 for X and “postmodern feminist trope” for Y. Nonetheless, this uncomfortable however adroitly executed horror model by which a younger lady is chased via the woods by poisonous male monsters is fairly great things: unnerving in the best methods and flecked with vibrant, surprising specks of wit.
In what presumably should be rural Eire given a lot of the supporting characters’ accents, Eve (Lucie Debay, feral and fierce) is a little bit of an outsider, a French lady caught in the course of nowhere supervising the development of a housing property. An opportunity go to to a neighborhood bar brings her into the orbit of a captivating, vulpine-featured anonymous stranger who sounds American however is definitely performed by the French actor Arieh Worthalter. After he saves her from the aggressive attentions of one other man (Ciaran O’Brien), Eve lets down her guard solely to seek out herself kidnapped by a psychotic, sadistic misogynist. Even worse, he’s a psychotic sadistic misogynist with a film digicam, and everyone knows how evil they’re.
From there on out, the remainder of movie is the narrative slap and tickle of escape-recapture as Eve, wearing crimson duffel coat, tries to get away. She is in an historical, soggy forest the place there are a number of different characters wandering round, able to fill the roles of grandma and woodsman. However director Vincent Paronnaud, working from a script he co-wrote with Léa Pernollet and David H Pickering, provides a number of kinks that divert the story from the tracks laid down by the fairytale origins.
Fortunately, we solely see glimpses of the footage of tortured ladies on the hideously plausible nemesis’s digicam, so finally the film – nearly – feels extra like a critique of the character’s woman-hating mindset slightly than a automobile for it.