Director: Luca Guadagnino
Cast: Zendaya (Tashi), Josh O’Connor (Patrick), Mike Faist (Art)
My Rating: 7.6/10
Challengers is an exhilarating, sweat-soaked masterpiece of tension, that while the plot can feel like a "Style over Substance" loop at times, the raw magnetism of the leads justifies every slow-motion frame.
When I look back at the films that defined the mid-2020s in a few years time, Challengers will stand out as the moment Luca Guadagnino perfected the art of the "visual thirst trap."
The film has moved past being a "tennis movie" to becoming a cultural touchstone for queer-coding and the female gaze.
The story is simple but the execution is frantic.
Tashi Duncan (Zendaya) is the axis upon which Art (Mike Faist) and Patrick (Josh O’Connor) rotate, where the film treats tennis as a surrogate for every emotion they aren't allowed to express, and I really appreciated how the non-linear timeline mimics the back-and-forth of a rally, forcing you to work to piece together the betrayal.
The "aching longing" in the flashbacks - specifically the hotel room scene - is Guadagnino at his best, where the "Style over Substance" trap can be seen and noticed, but the style is also so intentional that it becomes the narrative.
The camera literally becomes the tennis ball, putting us inside the frantic, obsessive headspace of the characters.
Zendaya gives an incredibly commanding performance - she is cold, calculated, and ferocious.
However, the real magic happens between the two men.
I found the chemistry between Faist and O’Connor to be the film’s secret weapon, with their rivalry steeped deeper in a deeply suppressed romance, where you notice that every time they step on the court, they aren't playing against each other; they are trying to find a way back to each other.
It carries that "slow-burn longing" I enjoyed in All of Us Strangers, even if it’s buried under a thick layer of industrial techno.
The score is handled by Trent Reznor and Atticus Ross, where it doesn’t just accompany the scenes - it attacks them.
I found the use of loud, club-ready techno during an argument scene to be a stroke of genius, as it mirrors the "mental breaking point" of the characters.
It feels alive, aggressive, and perfectly out of place in the "polite" world of country club tennis.
The screenwriter, Justin Kuritzkes, considers the winner "totally irrelevant." You notice the film ends before the ball hits the ground because the game was already won the moment they reconciled over the net.
You will also notice that Art makes physical contact with the net and crosses into Patrick's territory while the point is active, which means he would technically lose that specific point under official tennis rules.
However, the film cuts to black before the point is officially over, reinforcing that the "win" was the emotional breakthrough itself.
No. Tashi is simply a woman who refuses to apologize for her ambition, and I found her character refreshing because she doesn't care if the audience likes her, as long as they respect her game.
It is currently on Amazon Prime Video and MGM+.
I noticed rumors of a "prequel" focusing on Art and Patrick's academy days, but I believe the story is perfect as a standalone.
Also read my Heated Rivalry Review, On Swift Horses Review, and The Moment Review.
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