When a film’s pre-release marketing includes mention of false accusations of pedophilia, and the subsequently unraveling world of  the accused kindergarten assistant, and it has been included in Competition at Cannes, you could be forgiven for expecting an openly provocative project designed for no more than an Ulrich Seidl style rise from the audience. But unlike last year’s festival inclusion Michael, from Austrian director Markus Schleinzer, Jagten or The Hunt in my mother tongue, takes a more subtle approach to the considerably dangerous material, exploring lead character Lucas’ accusation as a harrowing situational horror that crawls under the audiences skin and which is profoundly successful as a slow-burning drama with a biting edge. While the horror of Michael was in the matter of fact way the film presented its protagonist – a pedophile who keeps his young victim captive in a basement prison – in perversely conventional terms, Jagten’s horror is far more artfully conceived, presenting an irresistible What If situation that quickly escalates because of the nature of an accusation and the dangers of gossip and presumption. In the hands of director Thomas Vinterberg, we watch with tangible horror as the cataclysmic waves blossom out from a malicious lie and threaten to swallow up Mads Mikkelsen‘s Lucas.