{"id":4869,"date":"2026-08-04T14:09:21","date_gmt":"2026-08-04T14:09:21","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4869"},"modified":"2026-08-04T14:09:21","modified_gmt":"2026-08-04T14:09:21","slug":"manhunt-director-says-his-haunting-exploration-of-alienation-masculinity-is-a-film-about-fascism","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4869","title":{"rendered":"\u2018Manhunt\u2019 Director Says His Haunting Exploration of Alienation, Masculinity Is \u201ca Film About Fascism\u201d"},"content":{"rendered":"
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\n\tMichif filmmaker Wayne Wapeemukwa isn\u2019t afraid to use visceral visuals and sound to question the world we\u2019ve built, training his spotlight on those pushed to society\u2019s margins.<\/p>\n

Read more George R.R. Martin Says He Battled Depression This Year: \u201cThe Worst May Be Yet to Come\u201d<\/a><\/p>\n

\n\tHis debut feature, Luk\u2019Luk\u2019I<\/em>, followed five residents of Vancouver\u2019s poverty-stricken Downtown Eastside during the 2010 Winter Olympics, with a screenplay the Canadian writer-director developed alongside his actors. The film won best Canadian feature at the Toronto International Film Festival in 2017, and Wapeemukwa took home the Directors Guild of Canada\u2019s DGC Discovery Award.<\/p>\n

\n\tThis week, he opens the international competition at the 79th edition\u00a0of the\u00a0Locarno\u00a0Film Festival with his sophomore feature, Manhunt<\/em> \u2014 a mesmerizing, unsettling journey into social and psychological terrain that\u2019s likely to shake viewers to the core.<\/p>\n

\n\tInspired by real-life murders in Canada in 2019, the film follows two young men on a road trip through the country\u2019s northern frontier, fleeing their dead-end lives. Rather than reconstruct the facts behind the killing spree, Manhunt<\/em> asks harder questions \u2014 about disconnection, alienation, modern masculinity, far-right and digital fantasies, and colonial echoes \u2014 to probe where such violence actually comes from.<\/p>\n

\n\tAs the two men drive through empty towns and vast forests, their lives dissolve between digital fantasy and offline reality. The Locarno website teases what\u2019s ahead: \u201cReframing true crime as a parable, Manhunt <\/em>probes loneliness, masculinity and the colonial dream of beginning anew \u2014 until the search for meaning erupts into violence.\u201d Or, as the press notes put it more bluntly: \u201cTwo boys discover they can\u2019t outrun what they\u2019ve become.\u201d<\/p>\n

\n\tSorrow curdles into hatred; the longing for connection turns violent. In the end, the two men find not salvation, but the barren land inside themselves.<\/p>\n

\nManhunt<\/em>, which Wapeemukwa wrote with Anna-Lena Theobald, stars Harris Lowe, Landon Tunold, Bianca Foscht and Dilara Foscht, with cinematography by Jonathan Glendon and editing by Coline Debray. Wapeemukwa produced alongside Nathan Drillot and Matt Drake. Vaka Street Casting \u2014 also behind the Canadian hit Blue Heron<\/em> \u2014 handled casting. Cinetic Media acquired North American sales rights, while Aspect Ratio is handling international sales.<\/p>\n

\n\tLocarno artistic director Giona A. Nazzaro, in a recent interview with THR<\/em>, praised Manhunt<\/em> as a film that \u201cquestions the colonial myth of what is beyond the frontier and how this myth still affects people.\u201d<\/p>\n

\n\tAhead of the film\u2019s Locarno premiere, Wapeemukwa spoke with THR<\/em> about his deep dive into human emptiness, darkness and fascism, how his Michif heritage shapes his thinking on disconnection from land, and his growing interest in genre work.<\/p>\n

Manhunt<\/em> is inspired by Northern British Columbia murders in July 2019. Why did you want to make a film about them and why in the specific way you chose, which is very different from traditional true crime narratives?<\/strong><\/p>\n

\n\tAt the same time as the actual events that unfolded in 2019, I was road tripping through my indigenous homeland. My dad\u2019s white, and my mom is Michif, and so I was going through places in Saskatchewan and Manitoba, while watching this unfold at the same time in cafes and bars and whatever. I guess I was meditating a lot at the time about themes similar to my first feature \u2014 about how our attention in society is diverted away from certain problems and towards other kinds of low-hanging fruit.<\/p>\n

\n\tSo, I was meditating on these events with these two young boys and why our society focuses so heavily on this sort of violence, which is terrible. I do not want to diminish the significance of this at all in any way, shape, or form, but it\u2019s interesting to me that our attention, especially in Canada, so gravitates towards that spectacle versus the ongoing femicide of Indigenous women, for example. <\/p>\n

\nWhy do you think that is?<\/strong><\/p>\n

\n\tThat\u2019s a very complicated question. \u2026 If the question is why do we block out an understanding of that versus other narratives, why is our attention so misdirected, I think there are a lot of reasons for that. Fundamentally, it\u2019s to do with the fact that our society in Canada persists because of that ignorance. If that ignorance was really confronted in what it really meant, Canada as a country, as an idea, would become intolerable.<\/p>\n

\nThe press notes for Manhunt<\/em> mention that you feel that there is a lack of connection to land that is one of the drivers behind the two young men we follow in the movie. Is<\/strong> that something you thought about as a Michif filmmaker or where does this idea come from? <\/strong><\/p>\n

\n\t In my research for this film, which took place over seven years, I was talking about it with elders in my community and getting their take. And one of the elders mentioned to me that when she thinks about these boys, she thinks about how they have no connection to land, and that doesn\u2019t just mean some sort of blood and soil connection. Indigenous peoples generally understand connection to land in much broader normative terms, and what I understood her to be actually saying was: \u201cThese young men are disconnected from community.\u201d<\/p>\n

\n\tIt\u2019s about a communal way of relating with each other and relating to the environment and where we are from. In my subsequent empirical research about these boys that the 2019 story is animated around, I couldn\u2019t see anything otherwise. They worked at Walmart; they were disconnected; there were lots of social pressures on them. Society disconnected them through poverty, etc. And as I researched other mass murderers and white supremacists, I found that this was actually a lot more common than I had first anticipated.<\/p>\n

\nDo you think of Manhunt<\/em> as a timely universal tale more than a specific Canadian story?<\/strong><\/p>\n

Read more Back in the Room Where It Happens: Why \u2018Hamilton\u2019 Is Sparking Even More Joy for Leslie Odom Jr. This Time Around<\/a><\/p>\n

\n\tI consider it as a sort of parallax, as both. There\u2019s a similarity with my first feature as well. It is a story that\u2019s super localized and grounded, but at the same time is stretching at least for a global and especially an international audience. This is a reason why I feel so privileged to be invited to open the competition at Locarno. This was a film that I intended from the very beginning to reach beyond Canada. <\/p>\n

\n\tOftentimes, I find that Canadian cinema is provincialized and sequestered, but I wanted to do something beyond that, and, unfortunately, the topic of white supremacy is especially international.<\/p>\n

\nCan you maybe share some more of your thoughts on that?<\/strong><\/p>\n

\n\tIt really seems like the Nazis are back, and I do not say that enthusiastically in any way, shape, or form. And this film effectively became something about that. The film is its own fictional portrayal of the actual 2019 story, right? It became, for me, a film about fascism and also, because of my politics, anti-fascism. What we\u2019re witnessing here in my movie is a homegrown form of Canadian National Socialism or Canadian Nazism. There\u2019s a sort of boomerang effect in the way that [Afro-Martinican French poet, author and politician] Aim\u00e9 C\u00e9saire was talking about, except the fascism has gone from Africa to Europe and now finally to the Americas. And we see these young men as sort of stand-ins for figures we see all around the world.<\/p>\n

\nI grew up in Austria, where we learned about World War II and the Holocaust. But I guess education in history is not enough\u2026<\/strong>\n<\/p>\n

\n\tI\u2019ll speak to Canada. I obviously can\u2019t speak to your experience, although I do know a thing or two about how the Holocaust was taught in Germany because I read a lot of German Critical Theory. But the understanding that we have is one that\u2019s ideological and educational. But really, the things that gave birth to fascism in the 20th century were systemic and economic, and those problems haven\u2019t gone away. Therefore, we see the problem repeating itself again and in worse form.<\/p>\n

\nI read that you had a personal experience with a friend who became a white supremacist or nationalist?<\/strong><\/p>\n

Yeah, it\u2019s sad. I grew up on the West Coast in Canada, and my indigenous homelands are more in the interior. So I grew up with culture and with cousins and people who practice M\u00e9tis culture, but we all grew up away from our homelands. So we grew up in a diasporic setting that was extremely white, extremely rural, and, at the time I did not know this, poor also. And I suppose there was just really big cultural amnesia and ignorance about these sorts of issues, growing up in an environment like that. Then learning otherwise and growing and developing myself gave me a better perspective on this topic.<\/p>\n

\n\tI witnessed a friend I grew up with in high school who, because of the poverty and social crisis related to drugs, turned to prejudice as an explanation. It reminds me a lot about \u2014\u00a0you have to forgive me, I\u2019m a philosopher \u2014 Jean-Paul Sartre\u2019s Anti-Semite and Jew<\/em>. My friend didn\u2019t really have a prejudice against people on the basis of their race, but it became something to do with drugs. We often look for scapegoats and people to blame when we\u2019re not doing well ourselves. And that\u2019s not to say there isn\u2019t anyone to blame. I do think there are people to blame, specifically the sorts of people who are in charge of our society, not a racial group nor a gendered or sexual group. But fascism thrives on distracting us from the real culprits and directing our attention to those social categories.<\/p>\n

\nI experienced the imagery and visuals in Manhunt<\/em> as beautiful and also scary at times. You also include video game scenes as a virtual world. And I noticed that in the beginning and at the end, you show Indigenous people who don\u2019t have a bigger role elsewhere in the film. I assume having them on the periphery was a conscious choice?<\/strong><\/p>\n

\n\tYou\u2019re absolutely correct. I decided to bookend the film with a sort of Indigenous prologue and epilogue. And yes, you noticed that in the entirety of the middle section of the film, there are no Indigenous people. What we have instead is evidence of their presence, such as empty tipis and, sadly, missing and murdered signs. So what we see in the middle is an absence. What I\u2019m trying to think through here is an idea of Indigenous dispossession and Indigenous genocide through absence. <\/p>\n

\n\tBut in the very beginning and the very end of the film, of course, there is no lack. Our focus is on an Indigenous woman who is a Secw\u00e9pemc, or Shuswap, medicine woman and her husband, who is a white guy, but I cast him as a M\u00e9tis person by giving him some Indigenous jewelry. I feel okay with that because I\u2019m M\u00e9tis myself. <\/p>\n

\n\tThe idea of putting the Indigenous content at the beginning and the end of the film came to me from an Indigenous anthropologist. Her name is Audra Simpson, and she\u2019s Kanien\u2019keh\u00e1:ka, which is the Indigenous way of saying Mohawk. In her book Mohawk Interruptus<\/em>, she describes the Mohawk Nation as nested between settler states in Canada and the United States in a sort of zero-sum relationship, where one begins where the other ends. And I wanted to convey that cinematically in my film by positioning Indigenous peoples at the beginning and the end of the project as bookends, as people who border and who are actually containing the settlers for once. <\/p>\n

\nWhat do you want audiences to feel and take away from Manhunt<\/em>?<\/strong> Or are you more of the persuasion that you have made your film, and now it\u2019s up to audiences to decide what they make of it?<\/strong><\/p>\n

\n\tI definitely am in the branch of caring about how my audience feels, even though my films tend to be bleak and traumatizing, and this is intentional. So the question is: Why is it that I want to make people feel \u201cbad\u201d? It\u2019s not that I want to punish people. I\u2019m not a sadist. I actually, as far as I can, try to have the identical perspective that your fellow Austrian Michael Haneke does. Haneke is on a different, galactic level than me, but he is my North Star on this issue. So, for me, the question isn\u2019t whether the audience feels good or bad, but their relationship to the violence on screen.<\/p>\n

\n\tBecause I want to make political cinema. I have political things to say. But I also know that despite my philosophical education, cinema is not a thesis-driven medium, and that the form of cinema at its best is feeling and emotion. So I need to have my audience work through emotions in order to process what\u2019s happening on screen. So actually, my relationship to this subject is more psychoanalytical than it is philosophical. <\/p>\n

\n\tA lot of the films that tackle this subject matter don\u2019t talk to people that the film\u2019s about in a way that\u2019s legible to them. You were describing the sort of nihilism at the heart of these boys\u2019 lives. Online, we call it being blackpilled. So this is a film that is trying to actually be at that level with people like this in order to show them that filmmakers can understand and talk to them, and that as a matter of fact, the problems that are animating these boys\u2019 lives, their choices are reprehensible and awful, but the causes to their actions are objective, and they exist in our society and need to be talked about seriously. So that\u2019s the wager that I want to take with this film. <\/p>\n

Read more David Ellison Breaks Silence on Antitrust Lawsuit: It\u2019s Not About Market Share, It\u2019s About CNN<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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