As a long-time admirer of documentaries that delve deep into unique and challenging subjects, I found Albert Serra’s “Afternoons of Solitude” to be a captivating and thought-provoking piece. Having previously appreciated Serra’s slow-cinema narratives, this film showcased his ability to create immersive experiences that transcend the boundaries of traditional narrative storytelling.
Titled “Afternoons of Solitude (Tardes de Soledad), one might expect a peaceful and relaxing scene, perhaps lounging in a hammock with a book. However, this title belies the true essence of Albert Serra’s film. Far from tranquil, it is a gripping portrayal of 27-year-old Peruvian bullfighter Andrés Roca Rey and the intense, debated Spanish tradition within which he has risen to stardom. While the practice of bullfighting can be seen as blood sport and performance art, it is anything but gentle. Those with a weak tolerance for animal cruelty may find this film distressing, yet for those who can stomach it, the documentary offers a rare insight into discipline, bravado, unwavering focus, and showmanship.
Filmmaker Serra, recognized for his minimalistic slow-paced narratives that can be both captivating and detached, experienced an international breakthrough with the 2022 release of “Pacifiction“. This documentary departure shares many traits common in his dramatic works, such as the dreamlike, almost ethereal ambiance; extended shots taken from a fixed position; repetitive sequences; thoughtful pauses; and an acceptance of moral complexity. The film was showcased at the New York Film Festival after its world premiere in competition at San Sebastian, where it received the festival’s highest accolade, the Golden Shell.
Collaborating once more with cinematographer Artur Tort, Serra crafts an enveloping spectacle that invites us into the tense standoff between man and animal, all while pondering — merely by observing — the enigmatic mind of a silent protagonist. The movie establishes itself as one of the rawest portrayals of bullfighting ever produced, given its compact history.
Pedro Almodóvar humorously delved into the sensual appeal of the bullfighter and the connection between sex and brutality in his 1986 film “Matador”. On the other hand, Francesco Rosi contrasted the grandeur of a bullfight with its raw ferocity in his 1965 movie “The Moment of Truth”. However, the 1957 film adaptation of “The Sun Also Rises”, by the well-known bullfighting enthusiast Ernest Hemingway, was met with widespread criticism, even by its creator. It’s possible that Serra’s title was partly influenced by Hemingway’s 1932 book on the topic, “Death in the Afternoon”.
Supporters of animal rights have managed to tarnish the image of traditional bullfighting in Spain, as it continues to be legal across most of the country, along with Portugal, Southern France, Mexico, and large parts of South America. Those who defend bullfights argue that it’s not a sport, but an age-old ceremony steeped in national pride – more about celebration than brutality. Serra maintains a neutral stance on this contentious issue, but the vivid and intense photographs by Tort, with their striking colors and graphic depictions of violence, are likely to fuel ongoing debates.
The film begins inside a bullring enclosure, where a striking black-coated bull paces anxiously, its sides rising and falling with each breath and drool dripping from its mouth. In contrast to the rest of ‘Afternoons of Solitude’, this is the sole instance where we witness an animal not attacking a matador or being harmed by a lance, banderillas (barbed darts), or a sword driven into its back. The somber tone of Marc Verdaguer and Ferran Font’s score seems to foreshadow this unique scene.
In a frequent travel scene within the documentary, Roca Rey is initially shown dripping with sweat inside a car en route to an event. He’s dressed elegantly in traditional matador attire. His companions, his group of admirers, lavish him with praise and support as they pass. The extended period they spend extolling the size of his courage suggests just how closely bullfighting is associated with bravado masculinity.
As a gaming enthusiast immersed in the world of Spanish bullfighting simulation, I’ve found myself captivated by footage drawn from significant events held in cities like Madrid, Seville, and Bilbao. I’ve been a spectator as Roca Rey carries out traditional pre-battle religious customs – such as kissing rosary beads, adorning them around his neck, or tenderly touching an image of a weeping Madonna, followed by multiple sign-of-the-cross gestures.
Serra additionally demonstrates the intricate procedure of donning a traditional costume, referred to as traje de luces or suit of lights, due to its abundance of sequins, jewels, and golden and silver threads. Admit it, watching Roca Rey struggle into nearly transparent stockings that reached up to his chest, followed by being helped by an attendant to hoist the elaborate pants called taleguilla as high and tight as corsets – at that moment, my only thought was, “What if he becomes nervous and needs to use the restroom before entering the arena?
Watching a bull, provoked by banderilleros fluttering their capes, charge at an armored horse ridden by a picador (a lance-wielding rider), or witnessing streams of intense red blood trickling down its body as the sharp darts pierce its neck and shoulders like flags, is quite challenging. However, nothing compares to observing Roca Rey delivering the fatal blow with his sword after exhausting the injured bull even more with repeated pursuits using his cape.
However, there’s an undeniable beauty to the violent show that cannot be disputed, most notably in the synchronization between the actions of the animals and the matador. He moves with a blend of gracefulness, akin to ballet, yet retains a primal intensity, mirroring the bull’s snorts.
During the thrilling final stages of the bullfight, Roca Rey’s eyes gleam with an almost frenzied enthusiasm. He never wavers in his determination, even taking brief pauses to bask in the applause from the cheering spectators. Despite being gored multiple times, and once dangerously pinned against a barrier by a massive pair of horns, Roca Rey remains fearless, often choosing to confront the bull again when most would be seeking medical aid.
Undeniably, no situation could ever make bearable the distress of watching a tormented bull succumb, vanquished, still gasping with its tongue lolling as a puntillero thrusts a knife into its spine if it manages to endure the sword. It’s appalling to observe the will of such a powerful creature being systematically crushed, and chilling to see the light fading from its eyes. Fortunately, we don’t have to witness the act of ears being severed as souvenirs, though the sight of the nearly dead animals tethered by their horns and dragged out of the bullring by a group of horses, leaving a path of blood, is an image that lingers.
In “Afternoons of Solitude,” Serra chooses to let the images convey their own messages, frequently accompanied by disquieting changes in the music score. There’s no voice-over narration, no interviews, no written data, and no introspection about his victories, not even from Roca Rey, whose expression for the most part remains a silent, stoic facade. The film does not offer any insights on the violence we witness; instead, it leaves us to ponder these images ourselves, without any guidance or interpretation from the director. This gives “Afternoons of Solitude” its unwavering and raw quality, making it a documentary as powerful and fierce as the impoverished animals being brutally killed in those bullfighting arenas.
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2024-09-29 02:55