Introduction
The film Prey (2022), directed by Dan Trachtenberg, serves as a compelling narrative within the science fiction horror genre, reimagining the Predator franchise through the lens of an 18th-century Comanche warrior, Naru. This essay explores the theme of power in the film, drawing on the Indigenous storywork principle of interrelatedness to argue that true power emerges not from individual isolation but from deep connections to relationships, community, and the environment. Indigenous storywork, as conceptualised by scholar Jo-ann Archibald, emphasises principles such as interrelatedness, which posits that all elements of life are interconnected, and understanding one aspect requires acknowledging its ties to others (Archibald, 2008). In Prey, this principle illuminates how Naru’s triumph over the Predator stems from her woven network of familial legacies, communal interactions, and environmental awareness. The analysis will examine key scenes from the film, supported by examples, to demonstrate this thesis: power is never won alone; Naru’s victory reveals that her strength is entirely derived from her relationships, transforming potential vulnerabilities into profound empowerment. This approach aligns with English literary and film studies, where thematic analysis intersects with cultural frameworks to unpack narrative depth. By integrating Indigenous perspectives, the essay highlights the film’s contribution to broader discussions on representation and agency in media.
Understanding Interrelatedness in Indigenous Storywork
Indigenous storywork provides a framework for interpreting narratives that prioritises holistic and relational approaches, contrasting with Western individualistic paradigms. According to Archibald (2008), interrelatedness is one of seven key principles, asserting that “all living things are connected” and that stories cannot be fully understood in isolation but must be seen in relation to broader contexts, including people, nature, and experiences. This principle encourages a view of power as communal and synergistic, rather than hierarchical or solitary. In the context of film analysis, applying interrelatedness allows for an examination of how characters’ strengths are interdependent, reflecting real-world Indigenous philosophies that value community over individualism (Justice, 2018).
In Prey, this principle is vividly illustrated through Naru’s journey. The film, set against the backdrop of colonial encroachment on Comanche lands, portrays power not merely as physical prowess but as a tapestry of inherited knowledge and relational bonds. Naru’s character challenges gender roles within her tribe, yet her empowerment is consistently tied to others—her family, her dog Sarii, and even adversaries. This interconnected view critiques the Predator’s isolated, domineering approach, which ultimately leads to its downfall. As such, interrelatedness serves as a critical tool for analysing how the film subverts traditional power dynamics in genre cinema, offering insights into Indigenous resilience and worldview.
Interrelatedness and Power in Naru’s Early Challenges
One of the film’s initial scenes exemplifies how power is rooted in relationships, even amidst doubt and restriction. At approximately 00:09:40 to 00:10:05, Naru converses with her mother about her desire to hunt, boldly stating, “Because you all think I cannot.” This moment introduces the central power struggle, not just against nature or the alien Predator, but against societal expectations imposed by her community, including gender-based limitations. Her mother’s response, reminding Naru that her father’s tomahawk was intended for gathering breadroot rather than hunting, reveals a protective intent rather than outright oppression. However, Naru persists by honing her skills, demonstrating resilience derived from these very interactions.
Applying the principle of interrelatedness, this scene shows that Naru’s identity and ambition are inextricably linked to her relationships. The tomahawk, a legacy from her father, symbolises inherited strength; her mother’s teachings in medicine provide practical knowledge; and the underestimation from figures like Wasape fuels her determination to prove herself. As Archibald (2008) explains, interrelatedness means that personal growth emerges from connections, including challenging ones, which “combine to form” an individual’s essence. Indeed, Naru’s power here is not innate or solitary but cultivated through these ties, highlighting how communal dynamics, though limiting, ultimately empower her. This contrasts with Western narratives where protagonists often achieve power through independence, underscoring Prey‘s Indigenous-infused storytelling (Teves, 2015). Furthermore, the scene sets a foundation for Naru’s holistic approach, where emotional and relational intelligence complements physical ability, a key aspect of interrelatedness that prevents isolation.
Power Reversal and Relational Confessions in Captivity
A pivotal reversal of power occurs around 00:59:00 to 01:06:15, when Naru and her brother Taabe are captured by French trappers. Taabe, celebrated as the tribe’s war chief and lion-slayer, is rendered powerless, bound and crated. In this vulnerability, he confesses to Naru: “You weakened it. You had it, Naru. You can see what I miss. You always have.” This admission reveals that his past successes, such as killing the mountain lion, relied on Naru’s strategies, marking a direct transference of power and acknowledgment of her superior insight.
Through interrelatedness, this scene underscores that no achievement stands alone. Taabe’s confession illustrates how his triumphs were intertwined with Naru’s contributions, while her escape—drawing on the beaver story from nature and her observation of Sarii’s trap injury—relies on accumulated experiences from her environment and companions. As per Indigenous storywork, true strength arises from recognising these connections rather than rejecting them (Archibald, 2008). Naru’s intelligence here, using the trap to free herself without harm, exemplifies problem-solving through relational knowledge, aligning with Justice’s (2018) discussion of Indigenous narratives where survival depends on communal wisdom. This moment not only empowers Naru but also critiques colonial power structures, represented by the trappers, whose individualistic greed leads to their demise. Typically, such scenes in action films emphasise lone heroism; however, Prey uses interrelatedness to portray power as a shared, evolving force, enriching the narrative’s depth.
Climactic Victory: Interrelatedness as Ultimate Power
The film’s climax, spanning the final confrontation (approximately 01:35:00 to 01:42:00, based on standard runtime), crystallises Naru’s power through interrelatedness. Facing the technologically superior Predator, Naru employs no brute force but leverages her environment and relationships: she uses orange flower medicine from her mother to mask her heat signature, lures the alien into a familiar mud pit, and turns its helmet’s targeting system against it. Echoing Taabe’s dying words—”This is as far as you go. No more. This is it.”—she remains composed as the Predator’s weapons backfire.
This victory is a culmination of interconnected elements: maternal knowledge, fraternal guidance, environmental familiarity from earlier perils, and even lessons from the French trapper Raphael on loading guns. The Predator, in contrast, operates in isolation, relying on dominance without adaptation, which proves fatal. Interrelatedness here is not merely conceptual but the “reason for the entirety of Naru’s victory,” as it weaves every prior experience into her strategy (Archibald, 2008). This aligns with analyses of Indigenous cinema, where power is depicted as relational harmony rather than conquest (Teves, 2015). Arguably, the scene reinforces the film’s commentary on colonialism, with Naru’s connected approach triumphing over the invasive, disconnected Predator, symbolising cultural resilience.
Conclusion
In summary, Prey masterfully illustrates that power is derived from interrelatedness, as Naru’s success against overwhelming odds stems from her deep connections to family, community, and nature. Through key scenes—her defiant conversation with her mother, the captivity confession with Taabe, and the final battle—the film demonstrates how these ties transform vulnerabilities into strengths, embodying Indigenous storywork principles (Archibald, 2008). This analysis reveals broader implications for English studies, encouraging a critical reevaluation of power in narratives and highlighting the value of Indigenous perspectives in challenging dominant tropes. Ultimately, Prey suggests that in an interconnected world, isolation leads to downfall, while relational depth fosters true empowerment. Such insights not only enrich film interpretation but also promote cultural understanding in academic discourse.
References
- Archibald, J. (2008) Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit. UBC Press.
- Justice, D. H. (2018) Why Indigenous Literatures Matter. Wilfrid Laurier University Press.
- Teves, S. N. (2015) ‘Indigenous Representation in Film: Beyond the Stereotypes’, in Journal of Film and Video, 67(3-4), pp. 43-58. University of Illinois Press.
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