Bull

"Relationships are kind of like riding a bull. You hang on for dear life and sometimes you get a little buck here and there but you get back on." Katy Perry

With all the buzz about realty, it's a joy to see real "reality" in a heartening independent film about rural rodeo and rural poverty in Texas without feeling the least bit cheated that you wasted your streaming cash or that you didn't get a full measure of the toughness of riding bulls and the challenge of surviving outside the fences. As if riding a bull were not the most dangerous game in town! Surviving life is.

Fifteen-year old Kris (Amber Havard-a newbie with loads of understated talent) is a sweetheart of a daughter, whose mom is in prison. She's quiet but wanting to learn, especially from 40-something wrangler-neighbor Abe (Rob Morgan), a seasoned Black cowboy who saves riders from bulls in the ring after the cowboys fall: "How do you know when a rider's about to fall off," asks Kris. "When his head hits the ground," responds Abe. Now that's reality.

Although the speeches are short and the action except for the bulls is minimal, a casual feeling pervades of experiencing another kind of world, i.e., poverty and the rodeo, as well as a worthy teen making some bad decisions but riding toward good ones. That she may someday ride a bull or bucking bronco may be inevitable-she's that smart, determined, and able.

Meanwhile enjoy being with her in her low-key world, where even poverty can't put a good girl down. It's a world writer-director Annie Silverstein and writer-husband Johnny McAllister give us in quiet, honest tones (the sound track's country tunes are perfect). Immersing us in other worlds is what movies do. These days streaming VOD like this is a gift and a virus-balm for us extraverts and for exploring introverts.

Reality check: After being caught early on with friends invading Abe's home, Kris implores the cops: "Can't you just take me to juvie?"

Bull is the debut feature film of Annie Silverstein. She has come a long way from being a youth program coordinator to a Cannes Film Festival nominee. In 2014, she presented her short film Skunk in Cannes. The director has now returned with the premiere of her new movie in the Un Certain Regard section of the Cannes Film Festival.

In the movie Bull, Annie Silverstein once again shows us provincial America where everything is too straightforward, too obvious and too cruel. The film is set on the outskirts of Houston, in a small town with its weirdos and losers. The town itself conforms to all our stereotypes, as we see dilapidated ranchos, outdated entertainment and people who can't give up their habits.

The given film is not about overwhelming victories or frantic attempts to reach ambitious goals. It is about the world where there are no prospects, but people are stubbornly trying to find them.

Kris, a teenager whose mother serves her sentence in prison, does not have any future expectations. She lives with a sick, authoritative grandmother, a little sister and a dog that strangles chickens in the neighborhood.

The girl is not like her peers, her thoughts are too mature. Even when she tries to blend in, it turns out to be a disaster, as she becomes the person she does not want to be.

She has no life she could dream of. Kris sees no way out of her mother's confinement and her own helplessness. At the age of 14 she strives to be better and older looking for the opportunities to earn money to provide for herself.

And the girl does grow older, but performing the deeds she is ashamed of, doing something that makes her get out of her comfort zone.

On the other hand, we see Abe, a former rodeo cowboy. He cannot quit his job, as it is a job of his life; even after giving up his career he keeps distracting bulls from other cowboys. He is the man who the life of a jockey depends on after an angry bull has flung its rider off.

Bull or horse rodeos are common pastime in the east of the United States. Entrance fee to such events ranges from $ 5 to $ 20 and the events themselves attract crowds of people. Modern animal rights activists have many arguments against holding the rodeos. Yet, what else can you do to enjoy yourself in a small town where the only thing you look out for is the lives of others? How can you stop participating in rodeos if they mean the world to you, they have become your universe? As soon as you go beyond it, you will die. Therefore, it is much easier to endure financial hardship, suffer from pain and fatigue than change something.

Abe's body resembles the body of a martyr. The way he treats it reminds us of unconscious self-torture. He does not seem to have enough willpower or motivation to start all over again.

At first glance, it may appear that the characters of the film are held hostage by the situation. In order to get out of the gulf of doubts, they have to make the right choice answering a number of questions - what, when, why... do we have to do anything at all?

All throughout the film, every single choice the characters make changes them dramatically. What is better - to get into a juvenile colony or apologize? Win your love back or persist in self-destruction?

Kris and Abe, seemingly incompatible people (at first sight), are drawn to each other like magnets. In the films, as well as in real life, it is not infrequent to encounter plots which revolve around people who find each other, 'break' each other and then 'mend'. The story which unfolds in Bull is a vivid example. In the beginning, you would not dare to say that these two can have something in common; you would not consider them to be capable of teaching each other, giving and receiving something in return.

Unexpectedly, though, the main heroes realize that there is somebody they can count on. The care they take of each other is manifested either in loyal support or complete inaction - unassuming and silent, but at the same time firm in spite of the mistakes and insults which were made either by themselves or others.

The characters bombard others with their problems, hurt everybody around while trying to assert themselves. Being indifferent, they rarely think about the people who surround them. Under such circumstances true friends are found and great trust is gained.

Despite the disappointment (be it with life, with yourself or each other), Kris and Abe have found people who do care. For them rodeo is not just about money. It is the desire to start everything from scratch or support the existing tradition. It turns into the confrontation, the struggle against the circumstances and themselves.

There are no goodies or baddies in the given movie. As a result, we do not feel too much sympathy for the heroes. The setting of the film does not allow us to forget that we are told the story of people who could live at any time and in any society. They are lonely, lost and rejected by others. Some might even call them narrow-minded. Still, together they are able to build a real life. The sense of unity empowers them so that they can sail against the wind.

They learn not to rush to battle, but play a waiting game. In life, as in bull rodeo, you have to take a break once in a while. After fate has taken its hand in your life rewarding you with numerous bruises, it thinks it has won as you are too weak to fight. Yet, the very moment it loses vigilance, we know who the game will be finally won by.

After all, everyone deserves a little happiness.

Greetings again from the darkness. A film focusing on an unlikely intersecting of cross-generational dead-end lives in a mostly ignored poverty-stricken area on the outskirts of Houston may not seem like much of a pick-me-up during these challenging times. And while it's not a crowd-pleaser, it is pleasing in a high quality independent filmmaking kind of way - especially to those of us who thrive on such projects. Writer-director Annie Silverstein's first feature film was co-written with Johnny McAllister and Josh Melrod, and it never tries to impress with any cleverness or trickery, and instead allows us to wallow in the harshness of a world that has its inhabitants grasping for hope.

We first see 14 year old Krystal (Kris) and her little sister messing with a chicken that's been killed by their pet pit bull in their backyard. The chicken belongs to their African American neighbor Abe, who threatens to shoot the dog if it comes in his yard again. Kris spends an inordinate amount of time taking care of her little sister. They live with their constantly annoyed grandmother while their mom is incarcerated. Jailhouse visits begin with hugs, and end with frustration. Kris seizes on an opportunity while neighbor Abe is gone for a weekend rodeo. She invites her friends over and they raid Abe's liquor and pain pills, and trash his house. The kids all have fun, but Abe is understandably upset when he returns home.

In a show of mercy towards Kris' grandmother, Abe agrees to allow Kris to clean up the party mess rather than be arrested and shipped to juvenile detention. Slowly, very slowly, Abe and Kris begin to bond. She is fascinated by middle-aged Abe's history. He was once a bull rider, and now he's a bull fighter - one of the guys in the arena who distracts the bulls so the riders can escape safely after their ride. His body and spirit are broken, and he's constantly in pain and sore. Kris, a sullen teenager, carries her own pain. Her situation is such that we (and Abe) find it difficult, if not meaningless, to judge her. She desperately wants to be loved and cared for, but finds none of that through her family or "friends."

Rob Morgan, who was so memorable in MUDBOUND (2017), plays Abe, a man who fights to maintain his dignity in a profession more conducive to younger folks, and with a body that continues to fail a bit more with each gore. He has some type of relationship with his ex, Sheila (Yolanda Ross), but mostly he's alone and quiet until he's around his fellow rodeo performers. Newcomer Amber Havard plays Kris, and captures the confusion and hurt with subtle facial movements of an actress far more experienced. The moment her mother (Peggy Schott) lets her down yet again is gut-wrenching, and we feel Kris' pain every bit as much as we feel Abe's pain at the tip of a bull horn.

Ms. Silverstein's film is surely to draw comparisons to the excellent THE RIDER (2017), with its understated approach, and power in the quietness and stillness. It touches on African American rodeos, and provides a contrast with 'white' rodeos, while also showing us the sex and drug issues facing young Kris. With its multi-generational view of life, we see a girl desperate for a role model, and a man coming to terms with loneliness. Kris and Abe prove quite the odd couple as she finds a glimmer of hope in her desire to become a bull rider, and Abe finds a companion and reason to carry on. The two fine performances help us deal with the often bleak daily lives of Kris and Abe, and Ms. Silverstein directs her film in such a visceral way that, as viewers, we are appreciative when the cloud lifts just a bit.

Some say this film is slow, I say it takes the time to envelope you in the characters and environment. It gives you the space to understand the players and develop your own opinion of them as it goes. Each character is very distinct except Crystal, who is developing and burgeoning. She knows her world is limited but also knows she needs to do something to make a life for herself. It reminds me a little of Winter's Bone, although the lead actor isn't quite as impressive as Jennifer Lawrence, she does hold you engaged as her story plays out. You can't help but feel sympathy for her but also recognise her stoic resolve. It's a matter of fact film with a positive view of the world. I loved it.

Confused as to why some would think this film contained animal cruelty...!!! Maybe I'm not that tuned into "first world sensitivities and problems".

Strong relational film with convincing characters. Harsh depiction of working class American lifestyle - perhaps that's the focus if you do have societal concerns, one should give focus to.

Steady slow burner that will resonate.