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At first sight, it a film about the bullfight. However, the standings about of a bull which accompany in soundtrack the public surrendering the arena already express a gap appropriate for a critical representation: the fate of this population is confidentially connected to that of the bull. Besides differently, the repeatedly returns of an old poster, probably republican, representing Hitler under the features of a matador in full action. This image transcends the documentary value of the film to raise it into a strongly symbolic dimension. In fact, we are after the death of Franco. Cyril Hurel |
Afternoon at the Bulls
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