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One slip of the wheel is either a champagne shower or a brush with death. Two racers work together for their team to emerge victorious while competing against each other for the spotlight.

It’s no wonder Formula 1 has been Hollywood’s most well-adapted sport — the stakes are high and tensions even higher. Joseph Kosinski’s latest film, “F1,” has perfected these pressures in a visual masterpiece that triumphs technologically.

With only 20 drivers worldwide, the film needed more than good characters to create an engaging story. Kosinski was forced to create a truly immersive film with captivating visuals and direction. Though its production values are in a league of their own, the film’s streamlined, weak underdog narrative is dispensable.

“F1” opens with driver Sonny Hayes (Brad Pitt) competing in “24 Hours of Daytona.” Trying to ground his focus before his midnight shift, Sonny lies in his bed in the back of his van.

He doesn’t live in a penthouse; he doesn’t drive a Ferrari. And more importantly, while many drivers his age are enjoying retirement, Sonny still competes behind the wheel.

As Sonny emerges from his van, his team, Porsche, sits in seventh place. Tasked with pulling Porsche up from the bottom, Sonny’s still a force to be reckoned with. With the camera placed on the passenger side, Sonny dodges cars left and right, creating chaos in each mile he drives, bringing his team into first.

Using an actual Porsche race car and having an actual Porsche driver on set to supervise, Kosinski made his intentions clear: “F1” was going to be authentic to the touch. Scenes were filmed on the track during the Formula 1 season — which took three years to get approval from the sport’s board — with actors actually in the cockpit. Nothing was fabricated.

After winning Daytona, Sonny goes on with his everyday life. He’s greeted by his former racing partner, Ruben Cervantes (Javier Bardem), in a laundromat. Now the owner of Formula 1 team Apex, Ruben faces his biggest challenge yet: to find a second driver that can deliver Apex’s first win, or face his team getting sold.

In a dire attempt to save his team, Ruben offers Sonny the coveted driver’s seat. Though hesitant at first, Sonny makes his return to Formula 1 after 30 years.

As Sonny lands in London for the Silverstone Grand Prix, he’s introduced to his new racing partner Joshua Pearce (Damson Idris). Instead of focusing on intense team and racer rivalries the sport is known for, “F1” solely focuses on creating the wow factor. But, this left the film’s narrative too straightforward, lacking any compelling conflict.

Sophia Burke | Digital Design Director

The film’s gravest issue is its forced romantic arc between Sonny and technical principal Kate McKenna (Kerry Condon). When Sonny is first introduced to Kate, it’s obvious she charms him. As soon as Kate mentions she’s single, it seems inevitable the two would fall into a romantic relationship. But, the promising romance becomes a one-night stand instead, a quite sour note, especially for Kate’s character.

As Formula 1’s first female technical principal, Kate is already forced to face gender inequalities in the male-dominated sport. To end up as a fling for the film’s male lead is a slap in the face for Kate’s character. The film’s only romantic relationship adds nothing to the final outcome, making Sonny and Kate’s relationship disposable and ultimately insulting.

The cast’s charismatic performances somewhat save the lackluster plot. Pitt’s old-school charm and Idris’ cocky allure create the perfect “yin and yang” duo, making their initial rivalry, followed by a formed friendship, worthwhile. Condon’s quips and soft-natured presence are the glue that holds the team together despite her character’s unfortunate outcome.

Probably one of the most reclusive sports, it can be difficult for audiences to truly understand the magnitude of Formula 1 racing. “F1” is no exception, making the cinematography and direction the film’s saving grace.

Even in a tightly compact racing car, cinematographer Claudio Miranda diversified camera shots to keep the angles interesting. Its cinematography transports audiences into the thrilling world of racing, rendering actual broadcast footage and even creating a new piece of camera technology to use for the film.

Though cinematography is credited with the film’s box office success, the direction is also responsible. Kosinski is the master of tension-building. In the film’s climax — and final race of the season in Abu Dhabi — it feels predictable that Apex and Sonny are going to finally win their first race.

But, Kosinski’s direction keeps the film from feeling flat. As Lewis Hamilton, a professional Formula 1 driver and producer of the film, and Joshua go head-to-head for first place, the two touch, spinning their cars out of the race. With Sonny sitting in third, he uses this moment to slingshot into first.

The score softens as a tear rolls down Sonny’s face. He soars down the track, fending off his opponents left and right before crossing the checkered flag. Audiences both in the film and in the theater applaud, an epic and tear-jerking conclusion to the character’s arc.

Kosinski’s direction is best showcased here. First person shots from the cockpit bring audiences along on Sonny’s journey to victory. Shots of the car drifting on the road, making it a 200 mph trip on the front wing, leaving audiences wanting more. The climax is a 30-year culmination for Sonny, and this sequence immerses audiences into his journey, feeling those same levels of excitement, accomplishment and joy.

Though “F1” featured a mediocre narrative, its mesmerizing and realistic visuals save the film, paying homage to the sport.

While many Formula 1 fans may note the movie as rife with inaccuracies, “F1” is a fun film designed to court new fans into the sport. With the work making strides at the box office, its inaccuracies are sure to be forgiven.

Published on July 1, 2025 at 2:13 pm