Prey revitalized the predator series through stripping the action genre down to the simple need to survive and protect your own. The story follows classic themes with no gratuitous subplots, still holding the viewers interest with a new take to the action hero. Naru contrasts with traditional Predator protagonists by relying on her honed skills not for brute force, but as tools to execute strategic ambushes and outsmart her enemy. This holds up well to the predator films where physical might is the main value, and the resolution to the story’s obstacles. Naru is a female indigenous woman, with a slight body type, and a resilient perspective over domination. She uses her knowledge of natural medicine, and the earth to her advantage while being in harmony with nature, not exploiting its many gifts. She doesn’t fall under the harmful stereotypes that a indigenous character would usually take on. She isn’t an offensive comical relief, rather a fully realized character, on her own journey in self actualization, and her relationships. This is demonstrated at 24:39-25:00 minutes when Naru’s mom tries to convince her to be the tribe’s healer and give up her dream of hunting. The low light of the fire, as well as the dutch angle, portrays Naru in a childlike manner, and we see her doubt herself for the first time.
In this film we see Indigenous culture portrayed as an intelligent way of life. The writers consulted indigenous peoples of the area to create an accurate representation of local tribes’ customs. The film avoids overgeneralizations of indigenous peoples as it uses examples of natural medicines and customs that are not commonly known by western culture, such as, kuhtammia, killing something that is hunting you in order to prove yourself as a warrior. This movie treats indigenous culture as something worth emulating, rather than a commodity to gawk at.
Prey uses hunting to provide commentary on colonization, using masculine stereotypes. Predator exhibits hypermasculinity by valuing dominance. The predator uses a code of honour, trying to find a worthy opponent, using unnecessary violence, and taking trophies. This can be seen at 30:57-31:15 minutes. This scene illustrates the moment an animal realises its being hunted. Using motion blur to bring a wolf hunting a bunny into view with an over the shoulder perspective, then using fast cuts, and random camera movement to emphasize the stress of action. Then once again these tricks are used as the predator takes on the wolf. We also see the world from the predator’s view using the technology that enables it to dominate the natural creatures and humans. The fur trappers display preformative masculinity, as they exploit the land, and Cammanche people. They expose their cruelty, as well as their cowardice, using guns to colonize people who make their way naturally. We see this demonstrated at 59:27-59:96 when they attempt to use Naru and her brother as bait for the predator. The film makers emphasize their helplessness with a dolly shot that is tilted up from the ground slowly revealing the ominous forest and the vulnerability of their situation. The Camanche warriors represent a traditional masculine role. Their motivation for hunting is rooted in the survival of themselves and their tribe, along with the recognition they receive for their work. However, they use degrading language to try and dissuade Naru from becoming a hunter purely because she is a woman, and doesn’t rely on sheer strength, until she proves them wrong and gains their respect. Ultimately, Prey challenges traditional action and Indigenous stereotypes by presenting a nuanced story of survival, resilience, and respect for culture, redefining what it means to be a hero in the action genre.
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