Men and hunting trips rarely bode well in cinema. Whether or not the genre is apparent, these ventures out into the great outdoors have a tendency to go south, sooner or later. The Swedish drama Hunters on a White Field (Jakt) certainly has the grammar of a thriller down pat; the ominous nothingness of the open air, the unsettling close-ups of viscera and other unpleasant sights, and a discernible amount of growing tension between characters. However, if Hunters on a White Field is to be considered somewhere on the spectrum of genre, director Sarah Gyllenstierna and co-writer Mats Wägeus don’t make their case by menacing the film’s three male protagonists with an overt and external threat. What terrifies these men most certainly comes from within.
As overworked as the pitch of urbanites trading safe concrete for brush and dirt is, Gyllenstierna’s debut brings not only a fresh perspective to the table, but also an admirable sense of unpredictability. Upon first inspection there is indeed a foreboding feeling to these men’s outing; that has more to do with the ambiguity and awkwardness of the trio’s relationships than anything actually in plain sight. Not a lot is evident about Ardalan Esmaili, Jens Hultén, and Magnus Krepper‘s characters — Alex, Henrik, and Gregor respectively — apart from their comfortable backgrounds back home. All this is derived from their mutually intelligible work jargon, the kind of car they drive, where they inhabit whenever away from the city, and so on. This lack of forthcoming personal information helps keep the focus on the here and now, although viewers will wonder what these men were like before entering the woods.
There is something to be said about folks who hunt not out of necessity, but for the pure sport of it. It’s just one more privilege for them. Admittedly though, Alex is different from Henrik and Gregor. And not just in looks; Alex’s swarthiness is contrasted with the more typically Swedish appearances of his fellow huntsmen. However, having only received his hunting license for the first time, Alex is quickly singled out by both the audience and his peers. In addition, he is the ostensible main character whose perspective serves as the lens in which viewers see the story. Identifying with him, the perceived outsider of this threesome, means trusting his point of view. He feels disgusted several times throughout the film, and on the face of it, his reaction is warranted. Something is very off about this trip.
Without spoiling what’s in store for Alex, Henrik, and Gregor, it can be said that Hunters on a White Field does follow the path least taken once these restless characters grow weary of the ritual. What started out like an improvised and dramatic initiation of Alex transforms into something more primal and unexpected. That turning point is fruitful, as far as critical examination goes. This intimate and gorgeous study of unchecked and wild male ego could have supplied more food for thought, but what it does say — typically through imagery rather than words — is, nevertheless, compelling.
Hunters on a White Field screened at Tribeca Film Festival 2024.
Tales from the Paulside 
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