Cow

STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful

Documentary filmmaker Andrea Arnold follows Luma, a cow around a dairy farm, through her daily cycle of grazing, milking, and cultivation, through to giving birth to her calf, with whom she becomes separated. The monotonous routine of her life is captured in grim detail, before she meets her inevitably grim end.

Dairy farming is a matter that has been raised a lot recently with regards the whole climate change movement, and this very intimate, personal film shines a light on the plight of a typical, average cow reared in such an environment, who inevitably meets with a grim conclusion.

Arnold has admittedly tried to aim for a very personal, close up film, which shines through in scenes at the beginning, with Luma staring directly into the camera with an almost pleading glare, but the complete lack of context ends up leaving the viewer alienated. To anyone not familiar with the agricultural process, some sort of overhead offering some kind of explanation as to what is taking place, or some statistics around dairy farming, would have put us in the picture and made it more involving.

With the lack of verbal input, Arnold uses an emotive soundtrack at various points to illicit our feelings. It all builds up to a grim, unoptimistic ending, not quite as gory as you may has envisaged, but still pretty stark and brutal, in the end pulled off with all the subtlety of a mafia hit. If only there'd been a little more context and clarity to it all, and his brutally tragic story could have had the true impact Arnold was aiming for. ***

An honest look at how cow farming works in the first world. No commentary, no agenda, as little interference as possible. Each viewer can watch with his own eyes and make up his own opinion about the topic. This documentary portrays a civilized farm, so take in consideration that in most of the farms around the world life for cows is much worse. Also consider that the farm owners/workers might have slightly changed their behavior knowing they were filmed. Having said that, it looked to me quite honest and genuine. I liked the absence of sentimentalism and the close portrait of farm cows. I'm a consumer of milk and cheese, but at the same time I love animals and cows. Is there something we can do that reconciles the two?

The documentary "Cow" of Andrea Arnold shows every day's endeavors of a cow on a dairy farm. It brings us closer to the dark truth behind human exploitation of other species, where our desire of drinking milk makes millions of creatures suffer and live in fear.

This straightforward approach of showing us one specific cow and her way from giving a birth to death, allows us to empathize and understand what is hidden and invisible to a consumer of a milk product. It reminds us that we have no right to use other forms of life just to increase our own comfort. It manages to immerse us into a mind of a cow, living in fear and with no understanding of her own fate.

A method of no narration or dialogue is successful in providing us with tools that help us to distinguish emotions from cold thoughts. The documentary has a simple form, yet still, it manages to be rich in its effectiveness. It succeeds in being immersive, thought-provoking, moving and leaves us with questions that we need to answer ourselves.

I believe that the film's memo and the statement that it makes are on the same pathway of delivering similar messages related to discovering the incomprehensible human sense of superiority over everything else.

While the eponymous cow's way of thinking is less complex and abstract than the potential of the human brain, assuming it is therefore inferior due to that is a result of a rather shallow thinking. The document shows us that cows' greatest dreams and desires are not all that different from human ones. As equal to us, cows just want to be happy. Their way of being happy is to be close to others, surrounded by their family, and by grazing grass in beautiful clearings amidst nature and good weather. What prevents them from being happy in this way is a human system based on taking advantage of others and getting rid of them when they are no longer useful. As long as the destructive and harmful system continues, the suffering of the livestock will continue. However, not only theirs, because the system in which we operate ultimately hurts us, humans, as well.

One of the most illuminating documentaries in film history is called Titicut Follies (1967), one of the first and only times a director got under the skin of an institution, which Andrea Arnold manages again with Cow. Follies uncovers the horrendous maltreatment of people at an asylum in Massachusetts. It's remarkable because of the co-operation given to the filmmaker Frederick Wiseman. The medical staff at Titicut simply do not have the self awareness or empathy to know that they do wrong and give him the run of the place. In the most jawdropping moment a doctor smoking a cigarette over an anaesthetised patient, lets his fag ash fall into the man's open mouth, and no-one bats an eyelid. Exposés since that time have been rather subdued as most wrongdoers are informed enough to be a completely different person when they know a camera is nearby.

The farmers here simply feel that everything they do is justified (or maybe they crave judgement?), and so they have given Andrea Arnold and her crew the run of the place. Like Wiseman before her Arnold simply points her camera at stuff going on, there are no interviews, no explanatory notes, the camera eye does all the talking. They spend four years focussing mainly on one cow, Luma, her day-to-day experience, and those of her calf. When the calf is announced female I didn't know whether to be relieved or appalled, males are often shot straight away as rearing them to sell on as veal is not economical, whilst the female become part of the dairy herd; which is better, murder or slavery?

Cow is the nightmare of Fritz Lang's Metropolis come true, where persons literally become part of machines. On the farm placid and majestic creatures are cruelly exploited, and then when the economics of keeping them enslaved stops making sense, abruptly murdered. There are indeed Wisemanian moments here, where a farmhand comments that Luma is bad for being protective. "Bad" here meaning that she doesn't do exactly what her enslavers want when they want it ("Fair is foul and foul is fair"); the second farmhand knows a faux pas has been made on camera. The farmers are of that chilling breed of individuals who know what they do is wrong but do it anyway, because there are no repercussions. We can at least say of them that they are not sadists, no-one deliberately harms an animal here for entertainment (although things like this have been videoed on other farms).

Numerous unpleasant scenes include debudding without anaesthetic (to make the slaves more manageable the tissue that grows horns is burned away), Luma refusing to eat after her latest child is abducted and industrial milking apparatus dangling in slurry.

Arnold's treatment feels occasionally tone deaf, Luma is corralled into a pen with a bull to get made pregnant yet again (cows are essentially kept permanently pregnant and have no agency whatsoever), and Arnold feels it's appropriate to edit this in with a firework display, as if something remotely romantic is happening when breeding of slaves occurs. In interviews Arnold has talked about the service that the cows have given us, the problem is that cows have their free will removed, they are not giving us service, everything they give is being taken. I gave the film a 6 because for all its revelations I do still feel that Arnold doesn't fully get it.

It is sobering to remind oneself that of all the lurid horrors of Cow, this is likely the best a farm gets, and the best simply isn't good enough. We can stop the suffering, end deforestation and end climate change if we stop enslaving animals, but we enjoy the taste of these easily substituted products too much. The childishly absurd "bacon tho" and "cheese tho" arguments win out. Humanity had better hope that no wrathful judge exists.

Condemned to a life on a prison farm, there's plenty here to raise the alarm, perpetually expecting, poked, prodded and collecting, appreciation paid through point blank firearm.