Diego Maradona 2019

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• CinemaSerfon TMDB · Jun 20267/10

  I think the fact that we have such an astonishing amount of library footage of this legendary footballer actually goes some way to explaining just what caused his downfall. From his very first games at Boca in Argentina through his more static career at Barcelona and then his meteoric performances that catapulted the lacklustre Napoli to two Serie A titles and an UEFA Cup victory, we follow him with a fairly comprehensive video-critique of his life. Naples was a city in a bit of despair. It had suffered from a decline in investment and in it's traditional industries and it's football club had languished at the wrong end of the league for decades. No sooner had he taken to the pitch then they managed to make into the top half, and then to a title that saw the city paralysed with joy and celebration and his status assume something akin to the godlike. He redefines the word adulation, and it's under that constant pressure he begins to succumb to temptation. Initially, that's a pretty girl whose subsequent pregnancy he denies all knowledge of, but gradually his addiction to the white powder starts to impact negatively on his behaviour. As someone put it here, "Diego had nothing to do w

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• Stephen Campbellon TMDB · Sep 20198/10

  **_A fitting tribute to perhaps the greatest of all time - in all his genius, sagacity, hedonism, and excess_** > _My mother thinks I am the best. And I was raised to always believe what my mother tells me._ - Diego Maradona > _In Argentine football there is a before and after Maradona._ - Julio Grondona > _What Zidane can do with a football, Maradona could do with an orange._ - Michel Platini > _Even if I played for a million years, I'd never come close to Maradona. Not that I'd want to anyway. He's the greatest there's ever been._ - Lionel Messi > _I was, I am, and_ _I always will be a drug addict. A person who gets involved in drugs has to fight it every day._ - Diego Maradona In _Senna_ (2010), director Asif Kapadia essentially established a new style of documentary filmmaking - using only archive footage, with no talking heads, playing the interviews in voiceover only. _Amy_ (2015) was made predominantly the same way, although it did feature a couple of talking heads. This reliance on primary sources, the material that journalists and documentarians use to fashion a story without presenting it directly to the audience, allows Kapadia to establish a direct link to the subject,

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