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Spoor in a sequence from Spoor, Agnieszka Holland’s first feature film in six years – shows like Treme, The Killing Spoor and House of Cards have dominated her schedule all this time – a woman who has just suffered the aggression of her husband tells the protagonist, a retired engineer with a fondness for astrology, an old Polish legend: that of the Night Hunter, a vigilante figure who, mounted on two black cranes, exterminates the wicked. It is one of the signs – another is a significant disguise at the party that serves as a framework for dialogue – that the director has had a certain urgency to solve the mystery articulated in her film.

Based on the novel On the Bones of the Dead (Siruela) by the writer Olga Tokarczuk, Spoor (The Trail) has an enigma to solve at its center – a series of hunter killings in a mountainous area bordering Czech territory-, but He prefers to take his time describing the network of complicities that is being established between the marginal figures of a paradigmatic rural microscosm with ominous subsoil. A second-hand shop assistant, William Blake’s computer scientist who suffers from epileptic seizures, an entomologist who specializes in ghouls, and a taciturn neighbor are forming a constellation of affections around the central figure of that Janina Duszejko who will become the inquisitive vector of justice within an isolated community that seems to live comfortably installed on the blood of beasts.