Bullhead

Symptomatically and jaggedly pluralizing the personal psychological affects of a sudden all-encompassing disillusionment, while intricately stratifying a diverse bombastic barrage, literally interjecting his film with bellicose doses of testosterone, Michaël R. Roskam takes Bullhead and cacophonically synthesizes a man with his husbandry, as he tries whatever he can to surreptitiously distend.

An event. A transformation. Perseverance. Sublimation. Shock. Disintegration.

The wind in the willows.

Or the cyclone in the spruces in this instance. Jacky Vanmarsenille (Matthias Schoenaerts) is one volatile powder keg lacking the deflammatory passions which may have softened the blow.

But apart from scintillatingly nocturnalizing a tragic character study, Bullhead complacently, cerebrally, and chaotically economizes its 'subject matter,' potently intensifying a somewhat underrepresented particular submergence, while using it to indirectly comment upon Belgian social interactions.

If Mr. Vanmarsenille represents the local, then the local is diversified, then regionalized (the regional possessing a nationalistic nuance), and then subjectively traumatized, historicized, and atemporalized, while the film retains a selective degree of objectivity (which dissipates near the end), the catalyst of said trauma triumvirately functioning within the local, regional, and national domains, with romantic, familial, comic and veterinary issues exhaustively adorning its multiplicity.

Mr. Roskam knows how to get things done (screenplay by Michaël R. Roskam). 

It offers a potential counterpoint to Darren Aronofsky's The Wrestler, one film focused primarily on a individual's parenting struggles within an environment theoretically dominated by the personal, the other's less subject-centric caricature working within one hypothetically attempting to produce a less hostile bilateral congregation, both lamenting static subjective growth.

Stress. They're both, full, of stress.

I recommend Bullhead for lovers of multidimensional cinema but be prepared cause it's rather dark.

I kind of think of it as a stubborn grouchy emasculated subdued rowdy intellectual action film to which you must pay strict attention.

Calamitizing the maintenance of an ideal.

Which blindly obscures what's beautiful.