Bear Hunting in St Andrews: Feminist Rage and Symbolism on Screen

No one will be surprised when I say that St Andrews is quite a remarkable place. After all, it is very rare to find a town with such a vibrant array of student-led film and theatre productions, fuelled by exceptional talent and dedication. Angelwood Studio’s latest film, which premiered on 1 November in the Buchanan Building, is no exception. Loosely inspired by the myth of Artemis and Callisto, Bear Hunting, directed and written by Junko Karo, unfolds in a gripping twenty minutes as we follow Calista Kain on her journey to track down the boy she believes to be responsible for the murder of her best friend Juliette Alcott.

Angelwood Studios, known for its commitment to feminist and queer storytelling, delivers once again, tackling pressing themes of gender violence, sexual assault, and female rage. Bear Hunting stands out as both timely and thought-provoking, showcasing the studio’s dedication to challenging narratives and bringing difficult yet essential conversations to the screen. Through the character of Calista, Bear Hunting explores how grief and a deep sense of injustice can fundamentally change a person, driving them to actions they once couldn’t have imagined. While Calista and Juliette are the story’s victims, they are never cast in a pathetic light; instead, they are depicted as determined young women seeking justice in a society that has chosen to overlook them. It’s refreshing to see female roles that defy stereotypes, presenting women as active agents ready to take control of their own narratives. The approach reminded me of Emerald Fennel’s Promising Young Woman (2020), one of my favourite films. The film's ending is bitter, revealing a story with neither winners nor losers and instead only a perpetuation of violence that seems to have no end. At the same time, however, friendship and love show a light in the midst of darkness, fostering a faint sense of hope.

One of the most remarkable aspects of Bear Hunting is its restraint, opting for a subdued and atmospheric storytelling style over extreme or violent scenes. The film chooses to depict a sad, sombre story through quiet, familiar settings and a script that masterfully relies on subtext and the power of the unspoken. This subtle approach makes the film far more intimate and impactful than its premise might initially suggest, drawing the viewer in and allowing the weight of the story to unfold gradually. The performances of the lead actors — Amelia Stokeld, Abigail Harper, and Dylan Swain — are admirably restrained, capable of conveying the story’s intensity without exaggeration. Particularly impressive is Dylan Swain’s portrayal of Hunter, a character who emanates violence in every movement without ever raising his voice or making overtly aggressive gestures. This sense of latent danger is accentuated by the camera work, which, during the confrontational scenes between Calista and Hunter, visually corners Calista, creating an atmosphere of claustrophobia and menace.

After the film, members of the cast and crew lent themselves to a very interesting question and answer session, which provided the audience with important insights into the work that made it possible to produce this film and its inner workings. Costume and set designer Joanne Yau offered particularly compelling insights, explaining the symbolic choices behind the characters’ costumes. For instance, Calista’s colour palette shifts to bolder hues like red when she decides to take control, while the ghostly Juliette is dressed in translucent fabrics, creating a subtle unease in the viewer, while Hunter’s costume includes a fur-trimmed jacket, linking him visually to the bear figure. Hunter’s character is especially rich in symbolism, with details like the bandages on his hands representing the self-victimisation often displayed by perpetrators of gender violence. These bandages encapsulate his essence — a man who insists he’s a “good guy,” someone who simply made a mistake and doesn’t want his life overshadowed by a so-called “accident.” The soundtrack further deepens his characterisation, with low, ominous tones accompanying his appearances, subtly hinting at the darkness within him.

Every detail in Bear Hunting has been meticulously crafted, working together to build a story that resonates on an unconscious level. Angelwood Studios has created a haunting, thought-provoking work, and I highly recommend experiencing it if the opportunity arises.