SXSW Movie Review: The Matador
Directors: Stephen Higgins, Nina Gilden Seavey
Documentary
out of 5 stars
After seeing the terrific and brilliantly produced “The Matador,” I’m not entirely sure I’m a supporter of bullfighting, but I’ve come a step closer to at least appreciating the glory, grace, and the ancient purity of the sport. The ritualizing of the kill has been a part of every ancient culture, let’s be fair, but few cultures that have survived to modern times have retained traditions as primitive — and with such popular zeal — as bullfighting.
“The Matador” devotes only nominal energy to parsing the moral issues at hand, with anti-bullfighting advocates who intelligently voice their assertion that the sport is savage and outmoded. In defense of his profession, David Fandila — the charismatic and handsome subject of the documentary — argues it’s far more humane and fair than the obscenity of a slaughterhouse; here, the bull has a chance to defend itself, and can even be spared from slaughter if it puts up a brave enough fight. Point taken, but “The Matador,” finally, doesn’t adequately put a period at the end of that crucial debate; it’s an opportunity it misses. As for the documentary, overall: It’s fabulous.
Director Stephen Higgins and Nina Gilden Seavey put together an immersive portrait of Fandila, one of Spain’s foremost young matadors, who’s a wunderkind at the start of the documentary, and among the elite when it’s over. We get into his family life, the culture and controversy behind the sport of bullfighting, and, beyond that, the rigors, discipline, and the life-threatening risks of the sport. Powering the documentary are Christopher Jenkins’ cinematography, Ian Rummer’s editing — both heroic in their own ways — and the bravura orchestral soundtrack composed by John Califra, which becomes a force in and of itself. I can’t say enough about “The Matador’s” score: absolutely haunting, powerful, graceful, majestic.
Higgins and Seavey shrewdly follow the ambitious Fandila in his quest to participate in 100 corridas (bullfights), a goal he seeks from one season to the next, but from which he’s thwarted because of injuries. His family and community fully support him, and he’s truly dedicated to his profession, and even shares a certain mystical awe of the bull as I feel only the truest matadors must. So, in spite of myself, I sympathized with Fandila, and found myself in a kind of respectful detente with his profession.
After the documentary, the stunned audience cheered Califra’s score. The composer was there, along with the director, cinematographer, and editor, and they all received rousing applause for their work. I felt particularly lucky for being one of the few who snatched up one of soundtrack CD’s that Califra gave out, mobbed by his legion of newfound fans.
March 11th, 2008 at 8:28 am
Great movie but you left out that the main cinematographer was James Morton-Haworth. In my opinion the cinematography makes this movie what it is a superb intimate portrait of a fascinating man and profession.
It gives an understanding why, in this world of political correctness, bull-fighting continues to survive. Not for all certainly but a superb social and cultural commentary.
March 11th, 2008 at 3:23 pm
Can’t wait to see it! While I am against the brutality of the sport, I fully support a feature length documentary with men in flamboyant costume acting macho.
May 3rd, 2008 at 7:07 pm
Esteemed Friends, Artists and Collaborators,
The 1st LATIN AMERICAN POETIC SHORT FILM FESTIVAL at the acclaimed NUYORICAN POET’S CAFÉ will feature Poetic short films by Latin American Filmmakers. Our mission is to support the emerging Independent Filmmaker by providing exposure in the Down Town Cultural Center of Manhattans’ Lower Eastside. At the NUYORICAN POETS CAFÉ Filmmakers can present their work to a diverse audience in an intimate atmosphere, meet and exchange ideas.
The LATIN AMERICAN POETIC SHORT FILM FESTIVAL is scheduled for September 2008.
“Poetic Film is a combination of expressive image and sound. It is original and personal. It need not be about poetry and yet, it can be set to poetry. It is lyrical, dreamlike, expresses new ideas, evokes emotion, triggers thought and heightens the spirit. If we are fortunate, Poetic Film may some day be uncovered for us to discover.”
To support or submit Poetic Short film
Visit: http//:www.lapsff.com
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Estimados Amigos, Artistas y Colaboradores,
EL PRIMER FESTIVAL DE CORTOMETRAJES POETICO LATINO AMERICANO en el local NUYORICAN Poets Café presentara filmes Poeticos de Cinematografos Latino Americanos. Nuestro mission es sostenerla independencia de Artistas,. proporcionando a Ellos la exposicion en el centro cultural, localizado en LOISIADA, lugar donde los Artistas pueden presentar sus trabajo a variada audencia y encontrada en una intima atmosfera y reunirse para intercambio de ideas.
El Festival de Cortometraje Latino Americano Poetico comenza Septiembre del 2008.
“El Filme Poetico es una combinacion de imagen expresiva y de sonido. Es original y personal. No necesita ser de poemas y aun todavia puede ser hecho con poesia. Es lirico, como un sueno, expresa nuevas ideas, evoca emocion, estimula pensar y levanta el espiritu. Si somos afortunados, El Filme Poetico puede algun dia ser destapado y nostros descubrir.”
Para apoyar o submetir Cortometraje Poetico
Visite: http//:www.lapsff.com
January 5th, 2009 at 11:14 pm
[…] THE MATADOR The poetry of cinema was transfigured into the poetry of the bullring in this excellent documentary about the rise of one of Spain’s premier bullfighters. Directors Stephen Higgins and Nina Gilden Seavey captured the rigors and glory of the ring, but this wasn’t a paean to animal cruelty and primitive bloodsport. The Matador was also a skillful portrait of a culture’s modern reckoning with an enduring yet morally problematic aspect of its ancient history. Read my full review here. […]