Quicksand
Joined Dec 1999
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Quicksand's rating
I'd heard some wonderful things about this film from those around me, and at my local art theater. Knowing this was a personal story for Elliot Page, I went in otherwise blind, wanting to see the results for better or worse-- and in spite of the post-festival IMDb rating (4.4/10 as of Sept. 2024).
The film is clearly a personal one, from the opening scene. The low budget is on display, but this is entirely a compliment: character actors you might recognize from other things are made to feel like real people, in a real family, in a real house. Visually, not a lot happens. There are no fistfights, there are no fancy camera tricks. The camera instead focused on the emotions of the characters, focusing on faces, and sometimes just the eyes. If you let yourself feel what the characters are feeling, the film is as rewarding as it is eye-opening.
It can be uncomfortable. It can be confusing. It can be confrontational-- but ultimately this is simply Sam's (Page) story, from his perspective. His own emotional journey, not just over the course of the film, but how every day, Sam is just a person, living his life. It was indeed uncomfortable to experience some of the things that might be normal every day occurrences for Sam, but seeing things from someone else's perspective is why we go to the movies. I'm glad that Page and director Dominic Savage (who absolutely has a bona fide resume) got to tell this story, and I'm glad I was there to watch them both tell it. Not all of the characters are sure what to do with Sam, and some try harder than others, but no one ever feels entirely where they should be. It is a movie of the moment, and captures-- what I can only assume-- the current moment perfectly. 8/10, watch it with someone you care about.
The film is clearly a personal one, from the opening scene. The low budget is on display, but this is entirely a compliment: character actors you might recognize from other things are made to feel like real people, in a real family, in a real house. Visually, not a lot happens. There are no fistfights, there are no fancy camera tricks. The camera instead focused on the emotions of the characters, focusing on faces, and sometimes just the eyes. If you let yourself feel what the characters are feeling, the film is as rewarding as it is eye-opening.
It can be uncomfortable. It can be confusing. It can be confrontational-- but ultimately this is simply Sam's (Page) story, from his perspective. His own emotional journey, not just over the course of the film, but how every day, Sam is just a person, living his life. It was indeed uncomfortable to experience some of the things that might be normal every day occurrences for Sam, but seeing things from someone else's perspective is why we go to the movies. I'm glad that Page and director Dominic Savage (who absolutely has a bona fide resume) got to tell this story, and I'm glad I was there to watch them both tell it. Not all of the characters are sure what to do with Sam, and some try harder than others, but no one ever feels entirely where they should be. It is a movie of the moment, and captures-- what I can only assume-- the current moment perfectly. 8/10, watch it with someone you care about.
"Copa 71" premiered at TIFF last month, and made its US debut at DocFest as part of the Seattle Independent Film Festival. It received rave reviews at both, so it's telling that as of this writing it's currently rocking a 4.5/10 on IMDb for what is probably the most egregious sin of all-- treating women like human beings.
The film has one primary focus, as shown in the title: In 1971, in Mexico City and Guadalajara, a non-FIFA Women's World Cup was held. Six teams were invited, and where the tournament holders imagined it a sideshow, they had dollar signs in their eyes and stadiums to fill (FIFA denied them the use of the regular stadiums, so they were 'forced' into the two largest stadiums in the country).
As a film, its focus is narrow, but that singular focus is so utterly fascinating, and the players so passionate, that this is hardly a complaint. The burial of this sporting event is mentioned barely at all, the film doesn't even make mention of the next (also overlooked) women's tournament in 1985, skipping to the first official FIFA sanctioned event in 1991.
These are minor concerns, as the film is necessary both as an educational tool, and as a historical document. I'm male, I've got a basic familiarity with soccer, but like all great sports documentaries, you can go in blind and be captivated by the story they're trying to tell, regardless. Yes, the open sexism these women had to deal with is still alive and well (see: the current IMDb rating), but that is less the focus than the very real fact that even in 1971, women playing soccer sold out a 110,000 seat stadium.
You can't not love these women, unless you're the unfortunate type of person who never cared for women in the first place. If that's you, you don't need to review bomb, just find something else to be mad about. Women's soccer is the fastest growing sport in the world, and this documentary is a testament that it's been a long time coming.
The film has one primary focus, as shown in the title: In 1971, in Mexico City and Guadalajara, a non-FIFA Women's World Cup was held. Six teams were invited, and where the tournament holders imagined it a sideshow, they had dollar signs in their eyes and stadiums to fill (FIFA denied them the use of the regular stadiums, so they were 'forced' into the two largest stadiums in the country).
As a film, its focus is narrow, but that singular focus is so utterly fascinating, and the players so passionate, that this is hardly a complaint. The burial of this sporting event is mentioned barely at all, the film doesn't even make mention of the next (also overlooked) women's tournament in 1985, skipping to the first official FIFA sanctioned event in 1991.
These are minor concerns, as the film is necessary both as an educational tool, and as a historical document. I'm male, I've got a basic familiarity with soccer, but like all great sports documentaries, you can go in blind and be captivated by the story they're trying to tell, regardless. Yes, the open sexism these women had to deal with is still alive and well (see: the current IMDb rating), but that is less the focus than the very real fact that even in 1971, women playing soccer sold out a 110,000 seat stadium.
You can't not love these women, unless you're the unfortunate type of person who never cared for women in the first place. If that's you, you don't need to review bomb, just find something else to be mad about. Women's soccer is the fastest growing sport in the world, and this documentary is a testament that it's been a long time coming.
The series is, overall, really good. So it's baffling that they put the main character through the ringer here, spending the entire episode dumping on her and making us doubt her (and her doubt herself) via a psychiatrist who is given zero sympathy or humanity. One character actually says, out loud, without a trace of irony, "This goes all the way to the top!" Another has a shady midnight rendezvous where it's revealed they (gasp!) paid to make a video go viral. Absolutely strange choices and the worst-written episode overall, but by the end we're back on track. The actors remain magnetic and the direction is great throughout the series, but this one was a weird detour they didn't really spend enough time on, and the creative side was asleep at the wheel. I guess every multi-season series has its missteps.
