Title: Bullhead
Directed By: Michael R. Roskam
Starring: Matthias Schoenaerts, Jeroen Perceval, Jeanne Dandoy, Barbara Sarafian, Tibo Vandenborre, Frank Lammers, Sam Louwyck, Robin Valvekens, Baudoin Wolwertz, David Murgia, Erico Salamone, Philippe Grand’Henry, Kris Cuppens, Sofie Sente, Kristof Renson
Talk about starting out on the right foot. Not only did first time feature writer-director Michael R. Roskam deliver a solid film, but he snagged an Academy Award nomination for Best Foreign Language Film. Will it claim the Oscar? I’m betting against it, but Bullhead is still undoubtedly a worthy watch.
As kids, Jacky Vanmarsenille (Robin Valvekens) and his buddy Diederik Maes (Baudoin Wolwertz) get into a scuffle with a local bully, Bruno Schepers (David Murgia). Diederik gets away, but Jacky falls subject to Bruno’s wrath, a beating that changes him forever.
Twenty years later, Jacky is working for his family’s meat manufacturing business, a cattle farm with growth hormones at its core. When the Vanmarsenille’s supplier suggests they go into business with Marc Decuyper (Sam Louwyck), a local mafia bigwig, things get quite complicated, as not only is Decuyper responsible for killing a cop investigating his deals, but Decuyper also employs Jacky’s old friend Diederik.
Bullhead is packing some pretty heavy material and Roskam makes that quite clear from the start, wrapping an opening voiceover rather bleakly, the main character noting, “You’re always fucked.” The material is relentless from beginning to end, the dialogue fully loaded with weighty details and the film in general oozing with high stakes and suspense.
It can be quite difficult to keep up with every little plot item, perhaps even more so when relying on subtitles that move rather swiftly, but everything else is so well structured and engaging, Roskam manages to get more than enough across to keep Bullhead comprehensible and stirring. In fact, this is an instance where not being able to grasp every minute detail only adds to the tension, the looser grip on the situation further enhancing your unease.
Also upping the anxiety level are the performances, the most mesmerizing of which come from the young and old Jacky. Valvekens is an absolute natural on screen, both convincing as a fun loving kid, but also boasting the ability to command scenes through stark facial expressions and body language. Appropriately, Schoenaerts exhibits a similar ability, juxtaposing Jacky’s quieter moments with physical and verbal brutality, establishing Jacky as a very loose cannon, upping the tension tenfold.
Jacky’s arc through Bullhead is remarkable and becomes all the more power through Roskam’s non-linear storytelling. When we first meet Jacky, he’s as unlikable as they come, bullying the weak to get what he wants. However, after getting a look at the events that made him what he is today, your perception is entirely warped and this man that was once a pure brute, now earns compassion. And, from that point on, Roskam really let’s Jacky’s childhood woes consume his adult life, upping the degree of compassion even more all while never undermining the fact that Jacky’s behavior is inappropriate and often frightening.
Snatching a tad of Jacky’s spotlight is Diederik. Yet again, both Wolwertz and Perceval have no trouble commanding the screen, but do so in a way that keeps the focus on Valvekens and Schoenaerts, using Diederik to provide additional insight into Jacky’s predicament all while still giving Diederik’s story the attention it deserves.
On the technical side, it’s quite clear that Roskam knew what he was working with and exactly how to bring it to life. There’s something quite modest about the camerawork, Roskam using flashier techniques with restrain. Editor Alain Dessauvage then takes that footage and cuts it together as simply as possible, letting the camerawork take effect rather than drowning Bullhead in quick cuts. Color is used sparingly, drilling only particular props and costumes into your mind, namely Jacky’s unforgettable green work suit. The hue tends to follow Jacky when at home, but changes elsewhere, enhancing the character’s unease when out of his element.
Bullhead’s only missteps are the inclusion of a pair of auto mechanics (Erico Salamone and Philippe Grand’Henry) and the underdevelopment of the detectives (Barbara Sarafian and Tibo Vandenborre) working with Diederik. While their involvement is key to the plot, it’s largely their quick banter that’s toughest to grasp, making them feel far more expendable than they really are. The pair also doesn’t mesh particularly well with the tone of the film. Yes, something this dark could benefit from having a little comedic relief, but Christian and David are far too bumbling to belong. The detectives, on the other hand, certainly have a place in Bullhead, but just aren’t given enough to take them past their one-dimensionality and make them people rather than mere players.
A worthy Academy Award nominee? Certainly. Bullhead is quite reminiscent of 2011’s Animal Kingdom, a piece that starts with a disturbing dark script and then takes it one step further, making the material feel as real as ever through powerful performances and smart camerawork.
Technical: A-
Acting: A-
Story: B
Overall: B+
