Watched Apr 25, 2024
There’s a ton of interesting elements in here, but Luca Guadagnino is still trying to figure out how to perfect the formula. In a technically well-made blockbuster, my main critique is something the average audience won’t see: the film didn’t deliver on the promise of tennis. The game is central to the film, but operates as a deus ex machina. At one point, there’s even mention of “true tennis,” but the film never manages to show us that — maybe that’s an intended layer, but it doesn’t feel like it. The set up of tennis in the real world is rife with dramatics, from the game’s rules of decorum to the way the game is shot and televised; the film barely made nods to these elements and, in some spaces, was inaccurate. Tennis as a game and community was owed more in this movie, not the least of which is the opportunity to draw interest from a new audience. Sadly, the film decided this was not its responsibility and ended up missing out significant opportunities, as a result. In the context of a film about a love triangle, it constantly punched down at queerness, instead of offering a commentary on sexuality in sports, especially professional sports. Guadagnino’s obsession with sexuality in the young is something I find unsettling. This film’s script didn’t merit the breadth in its timeline and frequently did not even communicate that timeline well. I had an absolute blast watching Zendaya eat and Josh O’Connor brought the right angle and amount of horny to the work. Mike Faist’s performance feels betrayed by his character’s script and edit. This all said, I’ll probably watch many more times.