Miss Mia meows, purrs, entangles her body amongst your legs; she also scratches and bites, and when bored or satisfied, Miss Mia leaves on the lookout for new adventures. She is adored by the bohemian masses that fill the gutters of the city when the sun goes down, all the bats and cats and rats that canâ€™t expose themselves to daylight. Their HQ can be found at Madame Big Mo, a bar that houses a mixture of aristocrats, artists, tramps, whores and transexuals. Miss Miaâ€™s journey is one of discovery, a path she has chosen for life: one that is never ending.
In this short film, we see her desperation through colourful lenses, in a world of technicolor that brings melancholy to a higher, comedic ground. Her surroundings build a world of timelessness, of erotic and mystic undertones.
Will Miss Mia continue on her path of uncertainty, or will she choose to settle down?
Matador takes an extreme and experimental approach to a subject so dear to cinema – voyeurism – whilst extending it to a wider context.
The film drives a parallel between pornography and bullfighting in a disjointed narrative reminiscent of dreams. As we watch a bullfighter seductively working the stage in a mixture of dance and sport, we are brought to a parallel underground world, where four women watch a couple having sex. An analogy is created between the spectacles of pornography and bullfighting, raising questions on the audience that is captivated by the entertainment being provided.
The sense of ceremony is widespread, as a nod to humanity’s need to assert themselves as intelligent, thinking things. The film, however, searches for something that goes beyond external exuberance to explore that which we all share: our animalistic instincts. Humans are, after all, an integrant part of the animal kingdom.