“Naya” Reconstructs a Celebrity Wolf’s Journey Through Europe

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“Naya” Reconstructs a Celebrity Wolf’s Journey Through Europe
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The reëmergence of European wolves—and how we coexist with wild animals that are potentially dangerous to us—is at the heart of Sebastian Mulder’s new documentary. Watch here.

For most of the film, the wolf, named Naya, is camera-shy, somehow evading the hundreds of cameras that have been set up to view her.

In the middle of a dusty trail, a small wolf lies motionless on a tarp. A light flickers on. The wolf is blinking. Two people are crouching next to her—they lift her snout to slip a G.P.S. collar around her throat, then swab her gums and collect a tuft of her fur in an envelope. She is given the name Naya, which means “little sister.” Belgium welcomed this wolf into its territory, in 2018, hailing her as the “famous Flemish she-wolf.

For most of the film, Naya is camera-shy, somehow evading the hundreds of cameras that have been set up to view her. She also dodges the enthusiasts who take to the woods with their dogs, eager to catch a glimpse. “The fact that she managed to be unseen through such large areas made her a very successful wolf,” Mulder explained. But as the mutual awareness between Naya and her spectators grows, so, too, does the underlying tension between two apex predators.

Naya’s downfall is precipitated by a caught-on-camera moment of the wolf at her wildest. She ultimately ditches her G.P.S. collar and goes on a killing spree with her new beau, a he-wolf named August. In one exquisitely graphic scene of surveillance footage, Naya and August chase several hapless sheep around their enclosures. The wolves sink their fangs into fleece-covered flesh and drag the sheep into darkness outside of the camera’s view. “It is complete horror.

Naya disappeared shortly after Mulder started making the film, amid flurries of rumors that she had been killed. Although his film comes to a suspenseful end, Mulder told me that he had not set out to make a thriller but to deliver a tale that offers a kind of poetic justice. “We don’t know what happened, and maybe that’s good. Maybe that’s all that we’re allowed to know.”

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