The F1 movie is visually revolutionary. That still can't make up for a weak storyline

The Print

a day ago

F1 is produced by Lewis Hamilton and directed by Joseph Kosinski, who also directed Top Gun Maverick , and stars Brad Pitt as Sonny Hayes, an experienced driver who is making a comeback to the racecourse for one more chance at glory.
Lewis Hamilton took it upon himself to guarantee precision in aspects like engine sounds and overtaking tactics. A notable instance featured a scene shot at the Hungaroring, where Hamilton suggested that a blue-flag pass should happen solely at turn 6 to accurately portray genuine racing strategies. These insider elements give F1 a level of authenticity that most sports dramas can only aspire to have.
The F1 movie merges the boundaries between fiction and documentary, making it an enthralling visual experience for the sport's lovers. What has amazed me the most is the dedication to realism.
Visually, F1 is nothing short of revolutionary. Konsinski deployed cutting-edge camera rigs, including helmet-mounted and car-embedded systems, to provide multiple angles that immerse the viewer in the cockpit experience. At one point, the burning rubber reeked my nose through the screen, and the screeching turns gave me an experience of the Monaco Grand Prix in real time. The result is an immersive visual experience of speed that critics across the board have praised.
Pitt and his co-star Damson Idris, who portrays emerging talent Joshua Pearce, were dressed in suits and drove altered F2 vehicles in the film. They were driving for 'APXGP,' a fictional 11th team developed for the film.
F1 follows a well-oiled formula. Initial resistance from teammates, baggage from Hayes' past, a will-they-wont-they dynamic with team technical director Kate (Kerry Condon), and an intense rivalry with Pearce.
At one point, Hayes snaps at Pearce—'You have a deficient frontal cortex'—a line that manages to be both hilariously cutting and an unexpected crowd favourite. These elements act as narrative scaffolding, connecting the exhilarating racing set pieces that are the film's true heart.
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Attention to detail
What elevates the F1 movie is its self-awareness and sincerity. Kosinski isn't trying to reinvent the sports drama. However, he is updating it for the IMAX era. The charming Pitt embodies Hayes with a romanticised notion of coolness à la Robert Redford, with a dash of Maverick's swagger. The character's arc is very much predictable, but it is rendered with enough nuance to become rewarding and emotional.
More importantly, the movie does right by the rich history of F1. There are understated references to icons such as Ayrton Senna, whose archival footage evokes his legacy throughout the movie, and a Monza banking scene eerily reminiscent of the imagery of Grand Prix from 1966.
The attention to detail is quite astounding. Hamilton's involvement ensures that even the smallest cues, like the sound of gear changes or the pit stop choreography, are as authentic as possible. All this extends to the cultural elements as well. Real sponsors like IWC and SharkNinja appear on screen, and many real-life F1 drivers and personnel have cameos. Thus, this integration leads the film to a documentary-type edge, which is compelling for long-time F1 fans.
But the modified F2 cars overtaking the F1 cars, even if fictitious, felt a bit laughable and unrealistic to me. But then I saw Hayes overtake Max Verstappen and Charles LeClerc. In real life, Verstappen would've won the race, gone home, had dinner and gotten a warning from RedBull for staying up late playing a simulator racing game like iRacing.
However, watching Carlos Sainz clad in Ferrari red, Hamilton in Mercedes, and Daniel Ricciardo flash his iconic grin sent me on a trip down memory lane where every race was part thriller and fever dream.
And the film, though an enthralling visual spectacle, felt monotonous as it lacked solid storytelling. Even the technical finesse started to blur into repetitive sequences. Sure, Pitt nails the swagger, but he is no Max Verstappen.
Sana Cheryl Felix is an alumna of ThePrint School of Journalism. Views are personal.
(Edited by Theres Sudeep)