As a lifelong admirer of the artistry and tradition behind bullfighting, I found Albert Serra’s “Afternoons of Solitude” to be a profoundly impactful cinematic experience that resonated deeply with me. The film’s unflinching portrayal of the rituals and realities of Spanish bullfighting, particularly the opening close-up of the bull’s intense gaze, served as a stark reminder of the inherent drama and complexity embedded within this cultural practice.
Albert Serra’s “Afternoons of Solitude” doesn’t immediately confront the issue at hand but instead gazes directly at it. The movie starts with a close-up of an imposing bull, its eyes meeting the camera, giving off a challenging vibe despite its near-lost pupils in the polished black expanse of its head. It appears unaware that death awaits it, yet seems resigned to its fate, perhaps even angry – or maybe we feel indignant on its behalf and project those emotions onto this majestic image. Throughout the next two hours, Serra’s documentary about the ceremonial grandeur and brutal injustice of Spanish bullfighting may not focus as closely on the animal victims again, but that haunting stare remains etched in our minds. Even as the film centers on its human protagonist, star Peruvian torero Andrés Roca Rey, it’s that mournful gaze that lingers with us.
Without offering opinions or discussions, Serra’s film steers clear of taking a position on the controversial topic of bullfighting, which remains divisive in Catalonia, where the director hails from. Instead, it invites viewers to form their own emotional interpretations as it detachedly portrays Roca Rey, both within and beyond the ring. The film exhibits a captivation with the artificial grandeur of bullfighting, characterized by its precise choreography and elaborate, glitzy attire. However, “Afternoons of Solitude” cannot be considered as an endorsement of its subject matter. The film’s perspective seems as critical as it is intrigued — with Roca Rey’s macho behavior and idolization providing a subtle source of humor — while Serra, true to his reputation for creating thought-provoking arthouse films, does not shy away from depicting animal cruelty and distress.
The straightforwardness of the film might make it somewhat controversial for distributors, and has already sparked protests from Spanish animal rights organizations before its world premiere at the San Sebastián Film Festival. (It will have its international premiere in New York next week.) However, this is a significant piece of work by an evolving filmmaker, sharing similarities with his recent fictional films through the use of leisurely repetition and intense sensory immersion to immerse the audience in a state resembling a slightly uncomfortable dream.
In this film, rather than following a traditional storyline, I found myself immersed in the three main settings: the thunderous, nameless arenas where Roca Rey showcases his skills; the luxurious car that transports him to and from events, filled with an adoring male crew; and the opulent hotel rooms where he meticulously dons and doffs his flashy matador attire, often stained with blood. Although there are plenty of scenes depicting Roca Rey preparing for battles or unwinding post-fight, “Afternoons of Solitude” isn’t focused on exploring the character’s personal life. Instead, it offers a glimpse into the intense highs and lows of his profession, with the director showing little curiosity about Roca Rey’s inner self.
As a movie critic, I found myself questioning the distinction between man and artifact in Roca Rey. In a humorous dressing scene, an assistant elevates him effortlessly into his form-fitting breeches, handling him with more care for a mannequin than a maestro. The adoration he receives from his followers on their way from the stadium borders on dehumanizing: “You’re a colossus, a warrior, your courage is larger than the entire arena,” they gush, oblivious to his unflinching gaze into the distance. The director, Serra, seems amused by these absurdities and the undercurrent of homoerotic tension in this display of inflated masculinity. However, the stark contrast between these ceremonial trappings and the raw pain and danger that unfolds in the ring serves as a poignant reminder.
Despite the elegant dance moves and vibrant red outfits, it’s impossible to ignore the harsh reality that this prestigious Spanish event is merely a bloodsport. Serra and his frequent collaborator, DP Artur Tort Pujol (who also edits the film with him), make no attempt to sugarcoat this fact. Instead, they opt for close-up shots that highlight the gruesome violence, frequently excluding the spectators from the frame, which leaves us feeling uncomfortably alone as we bear witness to the carnage.
The focus of the movie transitions at a specific moment away from Roca Rey, who remains composed amidst two-horned assault, to the bull itself. This bull, enraged and glistening with its own blood, has been brought down and is being dragged towards its death, bound by chains. Yet, this conclusion does not feel like a triumph, even as Roca Rey and his comrades parade in their golden attire, celebrating their victory. Despite maintaining a stoic demeanor, “Afternoons of Solitude” leaves the audience to decide if any beauty remains amidst this brutal scene.
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2024-09-28 20:46