Young Boy Wrestles with Tradition in Spanish Bullfighting Community
Despite the growing perception of bullfighting as an outdated and cruel practice, especially concerning animal welfare, some parts of Castellón still uphold this tradition. In these areas, societal views haven’t progressed as rapidly as those in nearby Valencia and Barcelona. This cultural backdrop sets the stage for a new documentary, “The Boy and the Suit of Lights,” which recently premiered at the Sheffield Documentary Festival. The film follows Borja, a young boy, and his grandfather Matias over several years.
Directed by Inma De Reyes, who grew up in Castellón surrounded by the bullfighting culture, the documentary provides an intimate look into a world she had distanced herself from. De Reyes, now based in Edinburgh, recalls her childhood seeing bullfights on television and the traditional bullring in her hometown, though she was unaware of Castellón’s reputation as Spain’s bullfighting capital.
Reflecting on her hometown, De Reyes describes it as a place where time stands still, with people engaged in traditional occupations such as fishing, farming, and bullfighting, alongside occasional religious celebrations. This static environment motivated her to leave and explore the world, discovering her identity outside of Castellón. Returning to make this film allowed her to delve deeper into how familial values shape children’s personalities.
The inspiration for the documentary came from local newspaper articles about bullfighting traditions sent to De Reyes by her mother. Initially indifferent to the subject, De Reyes was surprised to discover the extent of the bullfighting culture. Through a connection made by a friend, she met Borja at a bullfighting school, igniting the documentary’s journey.
Matias, Borja’s grandfather, nurtures his unfulfilled dream of becoming a professional bullfighter through his grandson, hoping this path might elevate their family from poverty. Borja, coming from a disadvantaged background, initially follows his family’s wishes, seeing bullfighting as a romantic idea and a way to gain status.
Producer Aimara Reques notes the allure of bullfighting as a glamorous and theatrical event, emphasizing the pride families feel when their children participate. However, the paradox of this sport is that the bullfighter must kill the bull, a reality that complicates the seemingly noble pursuit.
“The Boy and the Suit of Lights,” filmed over five years, does not shy away from the controversy surrounding bullfighting. During the documentary, Borja witnesses protests against the sport, with demonstrators holding banners that read “No violence.” Despite its central theme, the film features little actual bullfighting footage, focusing instead on Borja’s coming-of-age story amid adolescence, family, and poverty.
De Reyes explains that the film prioritizes Borja’s personal journey over showcasing bullfighting. Capturing Borja’s emotions and thoughts, often without direct expression, was a challenge, but De Reyes believes the cinematography effectively conveys his internal struggles.
Throughout the film, Borja practices with a replica bull’s head and spends time with friends and family, including getting fitted for a traditional bullfighter’s costume. His gentle and caring nature, however, seems at odds with the demands of bullfighting.
De Reyes hopes the documentary’s message encourages viewers to allow children to explore their identities freely and to understand the reasons behind people’s choices, rather than passing immediate judgment. She also highlights the declining state of the bullfighting industry, noting that most aspiring bullfighters remain unemployed.
“The Boy and the Suit of Lights” will continue to screen at various film festivals in the coming months, with plans for UK distribution in the future. The documentary offers a poignant exploration of tradition, family, and personal growth against the backdrop of a fading cultural practice.
