![]() ![]() ![]() And whenever a distant horn sounds an alarm to summon him, he heads out to take down the next ungodly threat to the kingdom. He spends his time repairing his armour, brewing a special salve that miraculously heals even his most grievous injuries, and visiting his Daughter’s grave. In this unnamed Northern country, during a Dark Age where mythic monsters still walk the land, the Father leads a solitary life away from the Castle community. Instead, we see their consequences: the horrific, gaping wounds that he bears on his body (but quickly cures), and the severed heads of the vanquished creatures that he places on stakes inside his stone cottage. Just as we do not see the creature that the Father fights at the start, or the murder of the Daughter by something else, we also do not witness the many other fights of this professional monster slayer. The Head Hunter is a film of ellipses and aftermaths. “What took her from me is still out there. “I always thought I could protect her,” he is next heard saying in voiceover. What is visible is the copious blood on the Father’s sword and indeed on his hands, and now on the fur that covers his Daughter. ![]() Something ferocious has invaded the perimeter of their snowy encampment, but the Father, a bearded hulk of a man, has just fought and slain it in an off-screen battle, heard but not seen. “Shhh, it’s okay,” the Father (Christopher Rygh) reassures his sleepy young Daughter (Cora Kaufman) in her makeshift tent of twigs, at the beginning of The Head Hunter. ![]()
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