Written by Elisa Diaz. Photographs by Elisa Diaz and Miha Palancha.
“The Huntress” is a story based in Juárez, Mexico, at a time where women were continuously being raped and murdered — their bodies abandoned in the desert. With the government and local police failing to seek justice, a woman decides to take revenge herself. Inspired by true events, the main character Luz is based on Diana, the “Hunter of Bus Drivers,” the moniker used by an unidentified woman who murdered two bus drivers.
In August of 2013, two bus drivers were shot and killed within twenty-fours by a woman with blonde hair (possibly a wig) wearing dark clothes. A few days later, a public media outlet received an email signed, “Diana, the Hunter of Bus Drivers” in which a woman tells the story of being a female factory worker in Juárez. She says that she and other women were victims of sexual violence, caused by night route bus drivers on the routes to the maquilas or assembly factories. These women had to continue using the same bus they were assaulted on in order to go to work and no one was helping them.
The lead character, Luz, is played by Adriana Paz, who did a beautiful jon with her role. The way she portrayed Luz during heartbreaking scenes or when the character was remembering her trauma, you would think all of it actually happened to Paz. There is a scene where Luz is confronted by her partner, when he finds a gun in her bag — the absolute peak in the film’s tension. The shifts in Luz’s emotions and body language Paz portrays forces audiences to reckon with the damage that kind of traumatic experience can do to a person. Which is how I know that the film could have given Adriana much more to work with.
Before I share my critiques, I want to say that “The Huntress” is truly a beautiful film. Director Suzanne Andrews Correa did an incredible job with the story and bringing attention to true events. Which is something I will always respect her for. But there were moments in the film that were confusing, conflicting, or took me out of the story outright.
For the majority of the film, there is this incredible build up, the characters each have their distinct roles and the storytelling makes you feel everything that Luz is feeling. But at one point, the film reaches a stalemate. There is a horrific scene where the detective in the film forces himself into Luz’s home, terrifying her and her daughter Ale. After he harasses Ale, he goes to Luz and delivers the most important line in the film, “real power is living without consequences.”
Luz’s emotions are written clearly on her face in reaction to such a blow. But then, this feeling of “what’s next?” goes unresolved until the film concludes. A film is supposed to be a journey for the audience, with highs and lows throughout to keep the viewer’s attention. But when “The Huntress” reaches this part in the story, it never elicits that high, making this moment in the story significantly less effective.
If you choose to see this film, you will see how Luz derails after this scene — understandable for what she has been through — but the majority of depicted in a somewhat convoluted manor: Leaving her daughter alone after the event with the detective for a significant amount of time, seeing the “shadows” ghosts of people from prior a traumatic events including the one of a bus driver who hurt her, as well as her own shadow. Yet, it was hard to tell that this story was still her own. The ending almost felt rushed, and for it I do not think Luz’s story was the most effective vehicle for telling Diana’s.
“The Huntress,” while flawed, is still an incredible film, especially with it being Correa’s feature film debut. But before you go to see the movie, please make sure to take the time to read the news articles about Diana. Read articles about the cases, the missing women, the cartel war that occurred right before the bus driver murders, and fully understand what it was like for those who live in Juárez, Mexico at those times. Do not let this film be your only effort to hear their stories.
