It was the irremediable postponement of Morante’s returnwith the bullring of Olivenza turned into an Atlantic Laguna, the perfect excuse for so many fans to change the blades of strokes from the armchairs of the movie theaters. One afternoon that … It was not to fight, but for ‘Soledad afternoons’. The film that reflects the paradoxical loneliness of the most massive bullfighter of the moment; Your silence under the most hostile noise. A movie eXenta of the artistic beauty of bullfightingalthough full of authenticity through its two great realities: The delivery of the matador and the death of the animal. A narrative axis (that of death) that seems to be the main and only purpose of the work. Several bulls die, and The bullfighter in Santander is about to die. His reflection (almost) ‘post mortem’ appears as the great revelation of the feature film, the thoughts of those who have just tightened the trigger in a Russian roulette. «I have had an angel; I have forgive my life», Said the bullfighter dressed as a surgeon aboard a gang car full of tears and satisfaction.
The work may or may not do it, but it is difficult not to get out of it (at least in its first hour) impacted and admiring the bullfighter. Even without having captured or shown the director a single artistic moment of his. Because it faces the two main arguments of the debate about bullfighting – truth and death – without reflecting something else in favor of the party. Albert Serra will be a film genius, but it is also a lousy bullfighting filmmaker. It has no exclusive tendencies, nor pleasure for everything that is not the hardness of man and his violence over the animal. There are not plenty of first planes on the animal’s rales, but The general plans of the aesthetics of the bullfighter are missing; The depth of his bullfighting. The genius of the work does not go through the art or aesthetics of bullfighting, but by sounds. For the intimate atmosphere that very few know. The ability to separate the noise from the monumental squares of the loneliness of the ring. Neither Juncal nor Ferdinand: ‘Solitude afternoons’.
As we have said, the controversial work elevates the truth of the bullfighter to the superlative. Therefore benefits a Roca Rey who has taken almost a year to recognize and approach the film of his life. Now, more than on its own conviction, it seems to do it to the rebuild the success of criticism and projection. And endorses the theory of those who announced differences between their current environment and the then personal commitment of Roberto Domínguezwho, with his mistakes and successes, did believe without complexes in this production. A vision, that of Domínguez, so different from those of those who have crowded a bullfighter who, far from the bull’s face, seeks constant relief. In your interviews “Well, she only faces journalists who ask her for her girlfriends, for Victoria Federica, for fashion and for the kitchen– And on many of his posters – It is not just that it is announced with Cayetano Rivera in Seville, it has taken a pachanga in Illescas out of the sleeve with Guillermo Hermoso and Olga Casado. From ‘Aparte de Soledad’ to the ‘Youth run‘. Who was the idea?
At this point, no one will doubt that from this tribune it has been required according to its status as the highest figure, and that we will continue to do so, but we must also recognize the absolute truth that shows us in the film. A delivery and suffering often hidden from the coldness of the square and its arrogant style. The previous hours at the hotel, the whistles in the square and the loneliness of the nursing They humanize the herowhich appears almost as many times dressed in lights as with the terno of the operating room. His greatest mistake was not to presume before this film, which is his film and that elevates him to the top of the heroicity. ‘Solitude afternoons’, even in cinemas …
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