(I Kinighi). Dramatizing the politics of the postwar years, The Hunters is the third film in the historical triptych with Days of '36 and The Traveling Players. But it also recalls Angelopoulos' first feature, Reconstruction, in its method (once again, we'll call it Brechtian) of dramatic interrogation in which the postwar right is put "on trial." It is New Year's Eve, 1976. On a Greek island, a party of bourgeois hunters comes upon a body, buried in the snow and incredibly preserved by the cold. By his uniform, he appears to be one of the thousands of Partisans killed during the Civil War of 1947-49. "The inquest begins. (In) Angelopoulos' unique technique of merging poetic metaphor and historic reconstruction...each member of the hunting party views the body on the makeshift bier: the colonel, the businessman, the politician, the editor, the building contractor with leftist sympathies, and the wives all recall whichever twist of Greek history was the most decisive in shaping their lives. Each actor holds the camera for his or her turn, not by monologues, but by acting out each crucial confrontation, election or coup d'état. Then after a natural break for coffee or drinks, the recollections of the next person are dramatized" (Mari Kuttna, Film). Of his trilogy, Angelopoulos has said, "(It) reflects how a man of my generation sees Greek history, a history whose continuation blends with the years of my own life (he was born in 1936). The Hunters is a study of the historical conscience of the Greek bourgoise. In Greece, the ruling class is afraid of history and, for this reason, hides it. The Hunters starts from this premise."