Neon Bull

Iremar is part of a rodeo troupe that tours the Brazilian northeast. His task is to send bulls into the arena. Intensely exciting physical scenes alternate with contemplative episodes that sketch a painterly portrait of the members of the troupe.
Cameraman Diego Garcia maintains a documentary-like aesthetic to render the dynamics inside the arena. It is a somewhat loose style, combined with symmetrical tableaux reminiscent of the paintings of Johannes Vermeer. The camera is an observer that picks up everyday conversations, such as the whimpering of youngster Cáca. It is also an instrument of wonder, such as during the remarkably lit dance performances of mother Galega.
Seen in this way, the film can be compared to a meandering river. During its quieter stretches the viewer gets to marvel, while its sharp bends expose the changing society of Brazil. It all adds up to a harmonious account of how tradition gradually gives way to industry.