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The Hunters
Movie

The Hunters

1977 • Unknown

Woke Score
4
out of 10

Plot

During a hunting party on New Year's Eve 1976, five representatives of the bourgeoisie encounter with their companion the body of a partisan from the Civil War of the late forties. What they are most confused about is the fact that the corpse that lies at their feet is still bleeding…

Overall Series Review

The Hunters is a 1977 Greek political allegory that focuses on the inescapable guilt of a nation's ruling class. On New Year's Eve, a group of bourgeois hunters, including a colonel, an industrialist, an ex-Nazi collaborator, and a royalist, find the perfectly preserved, still-bleeding body of a Communist partisan killed decades earlier during the Greek Civil War. The corpse becomes a symbolic mirror and a tribunal, forcing the wealthy hunters to re-enact and confess their historical sins and moral corruption. The narrative is a direct, biting indictment of the post-war Right movement and the societal elite, asserting that the nation's contemporary stability is built upon the moral failure and willful suppression of a painful, bloody history. The film's critical stance is primarily class-based and political, rather than focused on modern intersectional identity markers like race or gender, which places its 'woke' content squarely in the anti-establishment and anti-civilizational self-hatred categories.

Categorical Breakdown

Identity Politics7/10

The narrative explicitly employs a hierarchy based on political and class affiliation to determine moral standing. The entire 'bourgeoisie/ruling elite' is collectively put on trial for historical corruption, complicity with Nazism, and brutality against the Left, painting this established class as fundamentally evil and guilty. The film elevates the Partisan—a member of the marginalized, revolutionary class—as a nearly Christ-like symbol of unabsolved moral truth, judging the affluent characters by their past status rather than individual character merit.

Oikophobia9/10

The film functions as an explicit and powerful indictment of the Greek nation's established elite and its foundational post-war status quo. The director's stated intention is a 'study of the historical conscience of the Greek bourgeoisie,' which is 'afraid of history and, for this reason, hides it.' The story frames the home culture and its ruling structures as fundamentally corrupt and responsible for a 'collective nightmare of guilty conscience,' which is the essence of civilizational self-hatred directed inward at the nation's political and historical elite.

Feminism2/10

The female characters are included as 'types'—the colonel's wife, a film actress, a royalist noblewoman—and are defined by their status as members of the morally bankrupt ruling class. The critique leveled against them is a function of their political and class complicity, not their gender. The film does not feature 'Girl Boss' tropes, nor does it contain explicit anti-natalist messaging. The central conflict is political and historical, not a focus on gender dynamics.

LGBTQ+1/10

The movie is a political and historical allegory with no discernible focus on alternative sexualities, queer theory, or gender ideology. The setting, style, and thematic concerns of this 1977 Greek film center entirely on class struggle and historical guilt, maintaining a normative structure by default of its subject matter.

Anti-Theism2/10

The core of the film's story uses a powerful spiritual/religious metaphor: a dead body that is miraculously preserved and still bleeds. This image forces the characters to confront a transcendent moral law—an unabsolved sin and collective guilt—which cannot be ignored or rationalized. The presence of this 'symbolic mysticism' and 'moralistic code of ethics' explicitly asserts an objective moral truth, directly opposing moral relativism or hostility toward the concept of higher moral order.