I’m rounding up my favourite films of the year before I get to a list, and the first thing to acknowledge is that this isn’t actually a film. It’s presented as a three-part television special on Netflix. But the chapters are wildly different in length and the total running time puts it firmly in feature film territory. It’s a choice to present it this way, of course, but I watched it all in one sitting and it works perfectly fine that way.
This is an odd way to present what is essentially a feature-length documentary, as three sort-of-half hour episodes in a ‘limited series’. I wonder if that’s just to give more space between them, because although they are all part of a continuous narrative arc, there’s a feeling of chapters which I suppose plays into the way that Naomi Osaka’s (at this point, still fairly short) professional life has panned out, and also the interruption that the pandemic has had not just on sport but on society. Osaka is a reflective interview subject (though her primary interview for the film is presented as a voiceover), perhaps not profoundly deep but why should one expect that from an athlete of her age, but still more reflective than many who are thrust into the limelight in their teens and early twenties. And of course in the hands of Garrett Bradley, who made my favourite film of last year (Time) — at least I think it was last year (time, eh) — there’s an assured sense of how the film constructs its subject, and plenty of empathy. It made me fascinated by her, by her life and career, of what she’s achieved, of what she struggles with and and by the possibility yet to come.
Director Garrett Bradley; Cinematographer Jon Nelson; Length 111 minutes (in three episodes).
Seen at home (Netflix streaming), Wellington, Tuesday 20 July 2021.