Following an obvious influence that is Hellmuth Costard's focused documentary on George Best playing against Coventry in 1971, Director's Douglas Gordon and Philippe Parreno have made a spectacular visual observation of one of the world's greatest ever players coming to the end of a glittering career. For this fact, it is an excellent project to appeal to such an astute audience who follow football closely and with it's release not long after the 2006 World Cup when Zinedine Zidane was so famously dismissed for violent conduct, its sold itself. Using 17 cameras that solely focused on Zidane through a match between Real Madrid and Villareal, 23rd April, 2005 and Darius Khondji's superb intentions and training of each camera operator meant that 'Zidane' was always destined to just look deliciously irresistible. From the start of the visual documentary, the French feel is realised and a homey feel with broadcast quality picture and sound lure the audience into a false sense of security. When the stunning High Definition picture bursts onto the screen with blistering sound, the audience are thrown into Zidane's majestic world. Worries that the film is too long and eventless as it follows one player closely on screen may be a problem for those not really appreciative of football or the player himself. But Zidane's presence is immediately felt and the intrigue as to who he is and what is going on in his head is a strong element. As he strides around the pitch effortlessly, his exertion in the game in the first half seems minimum, and you can see that for whatever reason, Zidane is very withdrawn from everyone else. Speaking little words (calling out for the ball only on several occasions) and expressionless face displays his intense, personal concentration. Along with the visual aspect of the film, the sound is imperative. The sound design is fantastic as Zidane's every breath is heard as though it were your own, every blade of grass is heard crunching under his feet, the crowd are deafening and then muted to concentrate on Zidane. It is when the Mogwai music kicks in eerily that you get a shiver down your spine. The score whimsically gives Zidane more importance and strength on screen, but sometimes can suggest something is about to happen (and when it doesn't, disappointment can be felt). The editing is again superb, every kick of the ball and tackle made intertwine perfectly as does the running of Zidane, each stride leads onto the other flawlessly and smoothly shows another perspective from close ups of the band on his wrist, Zidane dragging his feet on the floor and the highly defined sweat on his brow. It is so different from documentaries it could be looked upon as an avant-garde visual piece, but the subject matter seems so personal and full of admiration for the player that seductively draws the audience in. When the subtitles roll from Zidanes own words about being a boy and hearing his own commentary in his head and a magic moment when he predicted he would score, you understand the attraction more to an amazingly talented artist and that this is someone special who has so much about him to analyse. Clever devices break the film up to avoid the same footage over and over of Zidane running around the pitch. At half time there is a subplot concerning the documentation of Zidane in this match itself and how many other things happened on that day around the world, in nature, society, politics, war and so on. The message here concerns the audience and their decision to watch the film questioning, '23 April, an ordinary day, will events be remembered or forgotten?' Is this why the film is being made? To make events remembered and talked about? It is unclear in the end and their point isn't really stated with any convincing grounds. Other devices used, involve a change of format in the replays from the game involving Zidane and his involvement in the goals onto broadcast television again and again. There is interesting point of view shots on film from Zidane as he looks to the skies every now and then and another change of format to film that journeys through the corridors of the stadium as though it were a fan going tot heir seat that nicely displays the environment. In the end though, (after Zidanes expressionless reaction to going 1-0 down in the game) is when the film reaches a true climax. As though a lightbulb had been switched on in his head, Zidane suddenly begins to control the game, a deft touch here and there and a powerfully skillful run down the left to cross the ball into the box sets up his teams equaliser and it is the first time we see him smile. It is clear to see the amount of respect those around him have for him, yet he seems so distant from each player (sharing one moment with Roberto Carlos with a joke is his only real interaction). As the music soars through and Zidane running almost constantly with the ball now, so much more than before, you wonder what will happen next even after he is involved again in the wining strike for Real Madrid. However, (and the film could not have picked a better 'event' to observe a personality like this one) in the end and in a confusing manner, Zidane gets involved in a bust up on the pitch and throws an arm at one of the opposing players. Why? It is a tragic irony in the end that he is dismissed for something so uncontrolled despite his extreme concentration and exemplary game leading up to this that leaves the audience with questions that the film cleverly discovers about this ageing footballer.
