Wakening

The scouts

Goulet does something genuinely heretical here—folding Indigenous cosmology into sci-fi occupation resistance without irony, without apology, without letting either mythology dilute the other. Everyone else would've made this precious or didactic; she makes it *feral*.

A formally assured descent into mythic registers: the cinematography treats the Weetigo legend and military brutality as equal visual languages, and the editing's rhythm between hyperreal surrealism and documentary-like occupation scenes shows real lineage awareness—Dreyer by way of contemporary Indigenous futurism.

The crucial move is Goulet's decision to let the Weetigo remain *unseen* until the absolute climax; that restraint—the sound design doing the heavy lifting while the frame holds on the wanderer's face—transforms what could've been a standard creature-feature into something about belief itself.