Boi Neon

As someone who moved with his family to the other end of the world (Montevideo) at age 2 and absorbed that culture until age 8, I am always attracted to South American movies. It is a much different world, and Neon Bull shows that in every aspect. The sensuality mixed with brutality, the sheer strangeness of cowboys ogling a dancing scantily clad woman wearing a horse head and hooves, and unique relationships which of necessity are forged by the need to survive a hostile environment make this a compelling watch. It's an upside down world to be sure, and if you are tired of MPAA ratings affecting what you watch, let alone the excess censorship of most television, this is for you. Enjoy the ride, although for some it may take you by the tail and tip you off your feet.

This is a curious movie. It has no plot, no story, not even a premise that I could put my finger on. It's a bit like a documentary: we follow for a few days a little group of relatives (3 men, a woman and a little daughter) who work for a rodeo, somewhere in rural Brazil. We see them in their every day lives, doing their work and chores, eating, sleeping, relaxing, having sex, without anything special ever happening. The only thing slightly remarkable is the fact that male character Iremar as a hobby designs and sews dresses, that are worn by the woman when she performs her sexy dance routine for a crowd of roaring cowboys.

The pace is slow, we mainly observe, the dialogues are sparse, and the short scenes alternate as if at random, but always with the camera close by, which results in an intense realistic and authentic feeling. A warning to animal-lovers: the rough treatment of the bulls, as well as a manual "milking" of a stallion for its sperm is all shown without restraint! There is also one very graphic sex scene between Irimar and a pregnant woman, that - a bit out of character with the rest - is disproportionately prolonged to almost ten minutes. Although it is filmed beautifully in clair obscure, I do wonder why director Gabriel Mascaro chose to make it so extensive.

The movie ends pretty much in mid air, with nothing at all changed since the opening scene. Leaving me with a feeling of what was the purpose of it all. We were allowed a few furtive glances into the lives of some hard working people, but hardly got any deeper than that, so we didn't really got to know them. It's an interesting, and definitely a sincere movie, but - as far as I'm concerned - nothing more.

A very naturalistic approach, an honest eye, nothing feels enhanced, curated or manipulated, although it surely has, it's a movie. But the impression is that of a fly on the wall camera shooting some sort of South-American road movie and it's of course very fresh because we rarely get to see that kind of life, landscape, culture, even people. It took me a while to understand the concept of the rodeo here because it's so wildly different from US ones, these bulls barely look like bulls and the purpose is to grab them by the tail and make them fall down. Crazy right? It took me a while to understand the first scene, where he dusts the bull's tail.

So nothing is censored and we get a lot of profanity, nudity, abuse and even child abuse, rough living, a hard life that these guys don't complain that much about. They want more money to do or get other stuff, but the odd thing about it is that at least Iremar seems to enjoy what he does for a living, or at least not to be bothered by it. He doesn't hide or block the other side of him. He just lives his life.

It's a fine movie for the above reasons and if that sounds interesting go ahead. It didn't blow my mind as some said it would, it didn't even rock my evening and it was difficult to find but I personally don't regret seeing it. I appreciate the otherness of this movie. But it didn't do it for me.

Behind the scenes of the vaquejadas, Iremar and a group of cowboys prepare the bulls before releasing them into the arena. The daily routine is intense and visceral, but Iremar's ambitions are greater: lying in his hammock mounted on the back of the truck, he dreams of sequins, exquisite fabrics and fashion designs.

Slow, which even in 1.5 seemed slow, a sincere and delicate portrait of the struggle of the countryside, the ill-fated agro, with a strong and pleasant accent, rudimentary and rupestrian life, a dazzling chaotic energy, whether due to the strength of these people, the joy of small pleasures, the family affection, the sex scenes, of fantastic poetry and aesthetic beauty, with tenderness and aridity, the sad condescension of the lack of hope, the infamous poverty and the inversion of gender roles, perfect and necessary...

When the programme of 2015's London Film Festival described 'Neon Bull' as containing "scenes of sexual frankness" I didn't expect one of them to feature a man masturbating a horse! But such is the world of South American rodeos as featured in this Brazilian/Uruguayan/Dutch co-production.

The film follows a group who transport unfortunate bulls from rodeo to rodeo. Galega is the driver, mother to annoying young daughter Cacá and occasional dancer for men who like to see women in sparkly costumes and horses-head masks (a niche market, I should think). Those costumes are made by Iremar, who also manhandles the bulls before they're sent into the arena, but who dreams of being instead a tailor in a clothing factory. There's also Zé, a fat buffoon of a man who serves as the film's comedy relief, and Júnior, who like Iremar is not the traditional macho stereotype of the South American male - he hauls bulls with the best of them, but then spends hours in front of the mirror fixing his hair. There's no central plot line as such; instead the film follows the characters through their daily lives, including one or two dramatic set-pieces such as the incident with the horse, and then ends.

This is not a film for prudes: sequences such as the horse incident, and a lengthy sex scene involving a heavily-pregnant woman, ensure that. Nor is it a film for those concerned with animal welfare: there are several distressing shots of the bulls being pulled to the ground as horseriders yank their tails, and the film opens with a shot of the bulls crammed so tightly into their pen that the head of one is being crushed beneath the flanks of another. I very much hope that these scenes were not enacted simply for the film but were filmed at actual rodeos, although that itself would be bad enough: in life as in art, animals should not suffer for human entertainment.