Iremar works at the “Vaquejadas”, a rodeo in the North East of Brazil where two men on horseback try bring down a bull by grabbing its tail. It’s dusty and back-breaking work, but Iremar is a natural vaqueiro feeding, prepping and taking care of the bulls. Home is the truck used to transport the animals from show to show which he shares with his coworkers; Galega, an exotic dancer, truck driver and mother to her spirited and cheeky daughter Cacá, and Zé, his rotund compadre in the bull pen. Together they form a makeshift but close-knit family. But Brazil and the Northeast are changing and the region’s booming clothing industry has stirred new ambitions in Iremar. Swinging in his hammock in the back of the truck, his head is filled with dreams of pattern cutting, sequins and exquisite fabrics as he mentally assembles his latest sexy fashion designs.—LouKiev
There are two very explicit scenes in the film that Juliano Cazarré had trouble shooting. In the scene where he had to masturbate a horse, he was sure that Gabriel Mascaro had planned to use a prosthesis. Instead, when the director told him that he would have to actually touch the horse’s penis, he refused to continue unless Mascaro did the same first. So in the end they both masturbated the horse. The other scene that caused Cazarré great embarrassment was the one in which he had to have sex with Samya De Lavor, who was really 8 months pregnant. Mascaro asked Cazarré to have an erection at the beginning of the scene, suggesting that he wanted the sex to be real. Cazarré didn’t want to do it (“I’m not a porn actor,” he said), also because he knew De Lavor’s husband (Demick Lopes, also an actor), with whom he had worked in Bald Mountain (2013). At the beginning of the scene Cazarré pretended to penetrate, but then his partner, evidently more at ease with the situation, made him understand with her movements and looks that she wanted to go all the way.
