Bullhead Offers Belgian Bovine Brawn

This Oscar entry about meat, Mafia and manhood muscles into the foreign picture running

Competing for this year’s Foreign Language Oscar, Bullhead is pretty much what experience has taught me is a characteristic example of filmmaking from Belgium—a dark, gruesome, sickening but extremely original work that is both repellent and fascinating.

It’s about a vicious, bullying cattle farmer named Jacky, who swings a shady deal with a Mafia meat trader that results in the murder of a federal cop investigating the use of illegal hormones in meat-packing plants.

Jacky is played with ferocious power by coarse, craggy newcomer Matthias Schoenaerts, whose brawny, menacing swagger masks a sad, desperate emptiness that reminds me of the first time the screen unveiled the terrifying impact of Ralph Fiennes’ Nazi camp commander in Schindler’s List. Jacky has the same bulk, constantly pumped on injections of hormones and steroids to hide a devastating secret. Twenty years earlier, when he was a kid, he was assaulted by a brute named Bruno Scheper, who smashed his genitals with a brick.

Jacky has spent his life to looking and acting masculine, overdoing the testosterone to grow a beard, expand his chest, and get a deep voice and ripped muscles as a masquerade. Meanwhile, his family has held a grudge against the Scheper family, not only for what they did to destroy Jacky’s manhood, but for their mob connections that have struck fear in everyone who opposes them. Jacky’s best friend Diederik was the only witness, but his father forbid him to tell the cops the truth. It all went down in the books as an accident.

Jacky has been waiting all these years for revenge and redemption, and the dirty meat double-cross is fate surfacing at last. Now he has a chance to put the Schepers away, at the same time re-connecting with Lucia Scheper, an old flame who is the sister of the notorious Bruno, with his Diederik who is a homosexual informer in love with one of the cops he’s working for—and with Bruno himself, who is now a mental patient.

You can’t accuse Bullhead (the title refers to both the abattoir where Jacky slaughters the bulls, and Jacky himself, since he identifies with the animals he injects with hormones) of being hackneyed. The labyrinthine story, with a myriad cast of sinister characters including two crooked mechanics who switched the tires on the BMW that was involved in the murder of the hormone investigator, is so complicated and overplotted I can’t even describe it with clarity.

I can only tell you that this is a film unlike anything that I’ve seen before. It’s harrowing, haunting and sordid. Be forewarned, Bullhead is not for the squeamish. But take a chance and you will be rewarded with a work of nightmarish force that is absolutely unforgettable.

Bullhead (R) ★★★★☆

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The Bloody Villains


The Bloody Villains

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Las Vegas needs a new “high-energy” garage act like the Strip needs another luxury mega resort. That said, these greasy, pompadour-ed rockabilly hounds, who play like punked-up KISS, put on one helluva good show. The Bloody Villains wielded enough fist-pumping, attention-grabbing riffs—such as “Killing the Time” and “Caught with Meat in Your Mouth”—to keep you engrossed. Frontman Greg Verdusco unleashed plenty of James Williamson-grade lead guitar lines between verses, giving his band an ominous sonic aura.



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