Alexandre Trudeau’s wilderness thriller Hair of the Bear is a film that, ironically, seems to lose sight of its grand vision amidst the details—much like missing the forest for the trees. But here’s where it gets controversial: while survival thrillers often thrive on extreme scenarios—think Leonardo DiCaprio battling a grizzly in The Revenant or James Franco amputating his own arm in 127 Hours—Hair of the Bear opts for a more subdued approach, limiting its intensity to a few gunshots and a grim hammer scene. Is this a bold creative choice or a missed opportunity? You decide.
Directed and written by James McLellan and Alexandre Trudeau (yes, the son of Pierre Elliott and brother of Justin), the film marks their narrative feature debut. Trudeau, known for his documentary work, and McLellan, a first-time screenwriter, bring a unique pedigree to the project. Yet, their inexperience in narrative filmmaking is palpable from the opening frames. The story follows Tori (Malia Baker), a troubled teen sent to spend time with her grandfather Ben (Roy Dupuis) in a remote wilderness. Tori’s inner turmoil is as harsh as the frozen landscape, hinted at by scars on her wrists and her frustration with life. And this is the part most people miss: the film initially feels like an intimate family drama, exploring the fragile bond between two generations. But when Tori and Ben encounter two suspicious brothers (Robert Naylor and Jonathan Lawrence), the narrative shifts into a tense cat-and-mouse game that forces Tori to confront her will to survive.
McLellan and Trudeau’s ambition to blend heavy emotional themes with visceral violence is commendable. With the right script and visual flair, a low-budget, small-cast film can feel epic. Yet, Hair of the Bear struggles to reach its full potential. The pacing drags as the film takes its time revealing Tori’s dark predicament, and the ensuing stand-offs lack the emotional or narrative escalation needed to keep audiences engaged. By the end, viewers might feel as exhausted as Tori, longing for resolution.
One standout sequence, however, delivers pure bodily-harm terror, reminiscent of cinematographer Stefan Ciupek’s work on Lars von Trier’s Antichrist. But these moments are few and far between, leaving the film feeling uncertain of its own identity—is it a thriller, a drama, or something in between?
For those hoping to glean insights into the Trudeau political legacy, the film offers little beyond a potential metaphor in its villainous brothers. And for survivalist thrill-seekers, the lack of pulse-pounding action may disappoint. Yet, one decision shines: the casting of Roy Dupuis. His presence alone lends the film gravitas, though Malia Baker’s solid performance as Tori doesn’t quite reach the same charismatic heights. Perhaps Trudeau could offer Dupuis a meatier role in a future project—a Maxime Bernier biopic, anyone?
Here’s the thought-provoking question: Does Hair of the Bear falter because it tries to do too much with too little, or is its restraint a refreshing departure from the over-the-top survival genre? Share your thoughts in the comments—let’s spark a debate!
