Dan Trachtenberg’s Prey (2022) reimagines the Predator story in a fresh and socially aware way. Set in 1719 among the Comanche Nation, the film uses hunting not just as a test of survival but as a way to explore power, control, and resistance. Through Naru’s journey, Prey shows that real strength is not always about who is stronger but who is smarter, more observant, and more connected to the world around them.
For Naru, hunting is both a goal and a statement. She wants to prove to her tribe that she can hunt just as well as the men, even though they constantly underestimate her. The Predator hunts for sport, treating every fight as a test of dominance. The French fur trappers hunt for profit and control, representing greed and destruction rather than skill or survival. Finally, the Comanche warriors hunt with purpose and respect for nature. Each group’s version of hunting reveals something about their values and power – from domination to balance, and from ego to understanding.
The film also uses these three hunter groups to represent different types of masculinity. The Predator embodies a hyper-masculine ideal built on domination and physical superiority; it kills simply to prove its strength. The French fur trappers display a colonial masculinity rooted in greed and entitlement, using weapons and cruelty to control both nature and people. In contrast, the Comanche warriors reflect a balanced and traditional masculinity grounded in respect, patience, and responsibility toward the land. Through these contrasts, Prey exposes how power can either destroy or protect, depending on the values behind it.
Unlike the earlier Predator films that focused on muscular male heroes, Prey flips that idea completely. Naru is small and often overlooked, yet she is the one who outsmarts the Predator. Her victory comes from strategy and observation rather than force. By doing this, Prey redefines what a hero looks like and challenges the old Hollywood idea that toughness equals strength. The film shows that intelligence and adaptability can be just as heroic as physical dominance.
The parallels between the Predator and the fur trappers are also deliberate. Both rely on advanced technology to overpower others, and both treat the natural world as something to exploit. Their careless violence mirrors one another, showing that the Predator is not that different from humans when greed and pride take over. In this way, Prey critiques colonial attitudes toward nature and power, revealing how obsession with control leads to destruction.
Three key camera moments help express these ideas. First, in the tomahawk training scene, a smooth tracking shot follows Naru as she throws and retrieves her weapon repeatedly, symbolizing her growing control and precision. Second, in the fog sequence, handheld camera work and dim lighting create confusion and tension as Naru senses the Predator nearby, putting viewers directly in her fearful perspective. Finally, in the final battle, a wide, slowly rising aerial shot captures Naru standing over the defeated Predator. The editing slows to emphasize her calm victory, transforming the classic action-hero pose into one of intelligence and empowerment. These camera choices highlight her transformation from an underestimated hunter into a confident warrior.
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