[The Hunt] is an immature, and unbelievable, film….
[It] is a jumble of veiled political allegories inappropriately spiced with the sort of perverted symbols Bunuel exploits….
The three men are characterized too synthetically for such triangular carnage to be credible. No, it won't make you believe what happens in Mr. Saura's film to say, "But fascism is self-destructive". If so it cannot be demonstrated in the amateurish way childish symbols are here bumbled about.
Saura's imitations of Bunuel in The Hunt would be laughable were their visual content not so psychopathic—a skinned animal carcass is hacked apart; a sand crab is squashed; a ferret bites a rabbit's eye, and later, when it is shot, as is the rabbit, the camera dawdles over the quivers of their death throes. Also, a man is shot in the face, and, as blood covers everything but one eye, he guns down the "friend" who shot him. There are other pathic odds-&-ends, including a skeleton in a cave, the significance of which is unclear.
So is The Hunt.
Henry Hart, "Film Reviews: 'The Hunt'," in Films in Review (copyright © 1967 by the National Board of Review of Motion Pictures, Inc.), Vol. XVIII, No. 6, June-July, 1967, p. 369.