Bullhead is Drive for adults.
Both films are essentially neo-modern portrayals of modern masculinity, but Ryan Gosling's terse stunt driver is cartoonishly shiny compared to Matthias Schoenaerts' raw, tortured anti-hero in this Oscar-nominated Belgian thriller (distributed in the States by the Austin-based Drafthouse films).
Bullhead is the story of a steroid-addicted member of the shadier side of the Belgian beef industry (Schoenaerts), whose activities involve giving cattle illegal hormones to grow larger, intimidating local cattle farmers and contemplating shady deals with West-Flemish beef traders that may or may not be cop killers. All this, and the return of a former childhood friend, stirs up memories of Schoenaerts' grotesque childhood trauma.
Bullhead (like Drive), has an intricate plot that is at odds with its austere, art-house to the core aesthetic. Director Michaël R. Roskam opens with an intimate voiceover as dawn slowly lights the countryside, echoing the Coen brothers' neo-noir No Country For Old Men, and contrasts the naturalistic beauty of the Flemish countryside with the artificial nightmare of Schoenaerts life all the while. The score gradually builds from ominous undertones to operatic tragedy at the end.
Bullhead (like Drive), has an intricate plot that is at odds with its austere, art-house to the core aesthetic.
The film comes to a head with an amazingly tense standoff, making many themes of the film clear without needing to verbalize them. It's a powerful meditation on regret, betrayal and the definition of manhood — virtually all of the power comes from Schoenaerts' performance and Roskam's relentless ratcheting tension.
For all that, it's a much more propulsive film than Drive, and it features a lead character with legitimate reasons for his disconnection and rampant physicality. It's no wonder than Tim League (Alamo CEO) snapped up the rights when it screened as part of Fantastic Fest last year.
But the big question: Will it win the Oscar? It's a difficult film in many ways (as I walked out of the Drafthouse last night I saw several couples that clearly didn't know what they were getting into), but it resonates in a big way. It's similar in style and plotting in some ways to The Lives of Others, which beat presumptive favorite Pan's Labyrinth in 2006. This year Bullhead faces stiff competition from A Separation, an Iranian film that also received an original screenplay nomination.
The extreme nature of the film also makes it hard to bet that enough of the academy will be on board — not to spoil anything, but the childhood flashback in Bullhead is something straight out of Dogtooth, the completely bizarre nominee from Greece last year (that was arguably the best film in the category anyway).
It would be a huge boost for Drafthouse films, of course, to have an Oscar winner, but "Oscar nominee" is one fifth of the battle. After the critical and word-of-mouth success of its first film, Four Lions, the distribution arm of the famously unique Austin chain is in great standing no matter what happens.
Check out the trailer:
...and the CW Austin's interview with Alamo head Tim League: