The Huntress: Rune of the Dead
Set in the 9th century, Runa Stefansdotter lives in Scandanavia in a forest with her mute grandfather Ragnvald played by Beck, mother Magnhild Idah, and sister Bothild Lyngbrant. Her absence will be her father Joar who is missing after going pillaging as a Viking for the family’s wealth and has not returned for quite some time. Nonetheless, he did at least prepare Runa to be a bow-wielding archer. Issues start when Runa decides to take injured fighter Torulf into their home despite there the cabin’s matriarch Magnhild’s reticence in the matter.
Torulf serves as Joar’s super. He recounts stories of the raiders that attacked the place of the dead, and then faced the wrath of graves. Him and Joar are the only two men to survive. As time passes, Joar goes back but he puts in danger the whole group since he is being pursued by some ominous force. It is at this stage 2 in a three part film that it really becomes entertaining.
The first two-thirds of the picture may be best characterized as rather dull since lots of time is wasted in the forest with no more than mediocre action on the director’s part Telling, as it were, never caught traction with the director. The audience could easily make predictions about the audience’s reaction to Torulf’s narrating. It was long, to be kind, it was rather dull. It sounded like something straight out of a Nordic saga but not quite appropriate for film.
In retrospect, the whole idea behind the whole ‘bunkered family against an unrelenting army of weights’ would have made for an interesting case had the makers decided to pursue that angle from the start. This is how I anticipated the movie when I entered and it is what I looked forward to. This is what I waited at the edge of my seat to see.
And waited. And waited, as things seemed to take their own course, slow as it was a family focused wading into maturity narrative. I did, however, appreciate Stefan dotter in the main role. Certainly, a large part of the cast is executed rather solid, like the technical aspects of the picture. There was of course a degree of effort for instance, the score is rather well completed and the forest is perfect for a range of exciting things that could have happened. Which is what you would expect from a completely other, more entertaining film.
And, it feels like we finally get the long-awaited hand to hand (and hand to bow) confrontations. Though at a stage when one would curse the slower-finishing features. Even here, it is somewhat about the darkness and given my problems with Immortal Wars, the threshold of what is regarded as “somewhat about the darkness” has been lifted dramatically.
This is nowhere close to that level, and yes, you can still figure out what is happening, after some squinting. There is an untamed fitful quality here that is effective, although the overall effect is to cause the viewer to question where in the world it has been throughout the film. The producers ought to have tried to view the somewhat similar Flukt, and developed all the tension points that were so effectively used in that movie, rather than feed us with 90 minutes of aimless wandering in the woods.
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