The Beautiful Game, the Silver Screen, and a Mismatch
Wednesday, May 7th, a Champions League night featuring a semi-final clash between Paris Saint-Germain and Arsenal, spells gloom for the box office. This recurring phenomenon sees cinema attendance plummet whenever a major football fixture coincides with new film releases. It seems the fervent football fanbase, despite their passion for the sport, don’t translate that enthusiasm into movie theaters, particularly for films that delve into the world of football itself, a realm often filled with drama rivalling any cinematic narrative.
This paradox manifests repeatedly. A recent example is "Mercato," Tristan Séguéla’s thriller starring Jamel Debbouze as a debt-ridden football agent scrambling against the clock in the final hours of the transfer window. Despite its perceived quality and potential appeal, the film underperformed significantly. Similarly, "Les Arènes," another football-themed movie, isn’t expected to fare much better, barring an unexpected surge in viewership.
The challenges facing "Les Arènes" are compounded by its departure from typical football film tropes. Unlike high-budget productions with established stars and glamorous settings like Madrid or Riyadh, where lucrative contracts are negotiated, Camille Perton’s directorial debut takes a more grounded approach. Similar to "Mercato," "Les Arènes" focuses on the behind-the-scenes machinations of the football business, specifically the complex relationship between agents and players, a world far removed from the roar of the stadium.
The film centers on Brahim, an 18-year-old aspiring footballer brimming with dreams of professional success. He is represented by his cousin Mehdi, who is determined to secure Brahim’s first professional contract with Lyon. Mehdi staunchly resists the advances of a representative from a larger, wealthier club, who offers a substantial signing bonus of one million euros, accompanied by a cynical warning about the fickle nature of loyalty in the world of football.
The arrival of Francis, a foreign agent played by Édgar Ramirez, disrupts the dynamic between the cousins. Ramirez, a Venezuelan actor highly sought after by French filmmakers, brings a captivating yet unsettling presence to the role, imbuing Francis with the air of a charismatic, almost flamboyant, mobster. This injection of ambiguity initially suggests a potential foray into homoerotic tension, reminiscent of François Ozon’s work, hinting at a substitution of football cleats for high heels. However, Perton seemingly retreats from this exploration, leaving the underlying desire unexplored and ultimately failing to fully capture the character’s allure. A scene featuring Francis swimming naked in a hotel pool is rendered somewhat ineffective by the focus on the reactions of the cleaning staff, rather than a direct portrayal of the character himself.
"Les Arènes," in its ambition, aspires to be more impactful than it ultimately manages to be. The title itself, translating to "The Arenas," evokes a sense of grandeur, attempting to portray footballers as modern-day gladiators, a somewhat cliché metaphor. The film’s musical score similarly suffers from an excess of ambition, with an overly dramatic symphonic arrangement that feels disproportionate to the visuals it accompanies.
Despite these shortcomings, "Les Arènes" offers valuable insights into the less glamorous aspects of professional football. The film effectively exposes the exploitative practices employed by clubs, particularly the trading of young players’ initial contracts for exorbitant signing bonuses. The film’s conclusion, while not uplifting, offers a realistic depiction of the precarious fate that awaits many aspiring footballers, a far cry from the celebrated atmosphere of a Champions League evening at the Parc des Princes.
The disconnect between the public’s passion for football and their apparent disinterest in films about the sport remains a perplexing issue. Is it the inherent difficulty of capturing the visceral excitement of a live match on screen? Or is it the tendency of football films to focus on the darker, more cynical aspects of the game, alienating fans who prefer to celebrate the sport’s triumphs and heroes?
Whatever the reason, the box office performance of "Mercato" and the anticipated reception of "Les Arènes" highlight the challenges faced by filmmakers attempting to translate the drama and complexity of the football world into compelling cinema. Perhaps the key lies in finding a balance between realism and entertainment, capturing the raw emotion and human stories that lie at the heart of the beautiful game, while also offering a glimpse of the captivating world behind the headlines. The potential is certainly there, waiting for the right combination of talent and vision to score a winning goal with audiences.
