Soderbergh Stuns with Lowkey Sports Drama ‘High Flying Bird’ (FILM REVIEW)

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From the first moments of High Flying Bird, the latest film from director Steven Soderbergh, his second to be shot entirely on an iPhone, we find ourselves drawn into the shockingly rich human drama that takes place behind the scenes of professional basketball. “The game behind the game,” as the movie says, is one of intrigue and power. For who? Well, that’s the question.

Human richness is something screenwriter Tarell Alvin McCraney (co-writer of Moonlight, for which he won an Oscar) knows well. McCraney brings the same ear for raw humanity to High Flying Bird as he did to Moonlight, focusing his attention on dialogue and subtext more than action and movement. In fact, it would be entirely too easy to miss the subtleties of this film—the silent spaces where both growth and humanity truly lie.

This works well with Soderbergh’s approach. He’s never been a director that shies away from raw feeling, bringing his audiences face to face with the emotions of his characters. His newfound fascination with iPhones as cinematographic tools allows him, somehow, to get closer than he ever has before. As a technique, it pairs well with McCraney’s narrative approach, bringing us a sports film unlike any we’ve ever seen before. Not in the least because, well, there’s no actual sports.

High Flying Bird takes place during the last NBA lockout. Rookie draftee Erik (Melvin Gregg) is so close to his dreams that he can taste it, but, unfortunately, he, like the rest of the league, has to wait. To add insult to this injury, Erik finds himself in dire financial straits as an ill-advised loan he took out hangs over his head. Desperate for anything, he turns to his manager, Ray (Andre Holland) for any opportunity he might have. Ray, who needs to keep his client happy to keep his job, sets in motion a series of events that might forever change the way the business of basketball is handled or, at the very least, bring the lockout to an end.

Ray’s machinations are fascinating to watch; like a good athlete, he’s always a few steps ahead of his opponents (and, sometimes, even teammates) as he plots and schemes his way through the lockout. Holland brings an indelible vitality to the role, at times channeling a Mo’ Better Blues era Denzel Washington in his performance. His air of intense familiarity pairs well with Erik’s naïve understanding, which Gregg captures beautifully.

The two are joined by an amazing cast of supporting performances, including turns from Zachary Quinto, Kyle MacLachlan, and Bill Duke. Standing out is Atlanta co-star and Deadpool 2 scene stealer Zazie Beetz as Sam, Ray’s former assistant and Erik’s burgeoning love interest. Her depth of range is among the greatest among performers today, and though her role isn’t large, her presence is captivating and marvelous.

High Flying Bird is the kind of film Netflix should be paying more attention to. While their originals docket has improved over the years, the intimate and independent nature of the film makes it a perfect match for the streaming service. It’s the kind of film that harkens back to a different day for indie film, where narrative was key and creativity was rewarded. The approach from Soderbergh (who played an important role in the indie boom of the 90s) and McCraney feels like the potential beginning of the next wave of independent greatness, and that’s something Netflix should bear in mind as they continue to grow their distribution model.

High Flying Bird is now streaming on Netflix.

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