In tennis, the term “love” means “nothing.” The narrative structure slowly paints a portrait in front of us – we are spectators in the sport of love and war. The stitches of memories are unwoven to reveal the cracks and wounds of the trio, from when they first interacted to the present day. But does love actually mean for these skilled tennis players, nothing or something.
Although the thematic elements explored are not new for Luca Guadagnino’s filmography, this is the first time he’s directed an original screenplay, that wasn’t an adaptation or remake, since 2009’s I Am Love. The collaboration with screenwriter Justin Kuritzkes is clearly a winning one as he is already tapped to write Guadagnino’s next project, Queer. Kuritzkes’ screenplay and Guadagnino’s directing are airtight, taking us to the edge without ever letting up for the film’s entirety.
The game of gaining the upper hand between Patrick (Josh O’Connor) and Art (Mike Faist) goes back and forth, paralleling the game of tennis. There is layers to the performance we are watching from the actors and the characters, with emphasis on the intimacy of tennis where the players are focusing on the opponent in front of them and the intensity in fighting your hardest to win. Tashi (Zendaya) represents both a unifying and destructive force in the friendship, later taking on the role of the coach. From the beginning she has power of them, pulling the strings and altering the course of their lives. However, Tashi is not without her moments of vulnerability and humanity, as we see her deep admiration and passion for tennis leading up to an accident that halts her tennis career. This injury completely shatters her spirit.
This whole film literally hinges on these three performances, as they’re the only characters featured in the film. Art and Patrick’s dynamic starts warm and playful and grows competitive and sour throughout the film. This drastic change translates authentically because of Mike Faist and Josh O’Connor’s skilled performances. They could not be more opposite, yet they’re equally just as corrupt. Art has a more cunning nature, appearing meek on the surface while Patrick wears his fuckboy energy on his sleeve.
Although all three are complex and morally gray, Tashi is on another level. This is fueled by Zendaya’s powerhouse performance. She brings layers of depth to each action, which are a result of her knowing that she can get away with anything when it comes to Art and Patrick, and they’ll always come back for another round. We see where each character falters, we understand their motivations, but, just like the characters themselves, it’s difficult for us to decode their next movements.
In pure Guadagnino fashion, the sensuality and physicality of the body play a supporting role. In sports and sex, our bodies are the vessel that allows us to express ourselves. These characters have no shame in reverting to their animalistic nature, both on the court and in their bed. Everything is a competition- even the sex is about power. If tennis isn’t your cup of tea, Guadagnino directs this film with a bombastic style that makes every movement feel larger than life, with cinematographer Sayombhu Mukdeeprom enhancing every luscious moment.
The intricate narrative structure is interrupted by the tennis match taking place in the present day, but it doesn’t put a halt to the story. The slow motion and mix of unique camera angles can feel repetitive towards the end, but these scenes are elevated further by the score from Trent Reznor and Atticus Ross, with piano and synth matching the energetic passion. I’d also be remiss if I didn’t mention the hair, makeup, and wardrobe teams! This film spans over a decade, and it stands next to Sofia Coppola’s Priscilla as recently successful cases of aging actors up and down.
The most notable scene from the trailers, the trio kissing on the bed the night that they first meet Tashi, is undoubtedly my favourite scene from this year, and it’s hard to imagine anything surpassing it. When it comes to Guadagnino’s work, there’s always moments that stick with you- and this was it. There’s so much passion in the chaos, from this scene and the entire runtime.
In the era of sanitized sensuality and puritanism online discourse surrounding sexuality in film, it’s refreshing to get a film that brings it. It doesn’t rely on sex scenes, actually there aren’t even any. All we ever see is foreplay, and it sticks the landing. It simply exudes sex and lusts through the tension- glances, movements, and actions that dance the line between sinful desire, virtue, morality and deception.
The build-up culminates to a third act that is so exhilarating, that I can’t recall the last time I felt energy like that in a theatre. It felt like I was holding my breath anticipating how this would play out. Guadagnino’s Challengers is a beautifully acted, wonderfully crafted romantic sports drama. The script and directing allow O’Connor, Faist, and Zendaya to flex their talents in a way we haven’t seen them before, Zendaya in particular (who serves as a producer) on her first real leading performance. The instant the credits rolled, I wanted to play it back to savor every last bit again.
Rating: 9/10