Sports

FIDMarseille 2025

Published

4 months ago

July 25, 2025

Your Sports Nation

Frío Metal

Since changing its official name from Festival International du Documentaire de Marseille to Festival International de Cinéma de Marseille, FIDMarseille has become a significant premiere-driven industry festival dedicated to the expansive genre of “creative nonfiction” to include experimental, hybrid and essayistic works, often with a political ethos. For its 36th edition, FID reaffirmed its rare outspokenness on Palestine by screening To Gaza (2025) and hosting daily morning screenings of the collective work Some Strings. Through retrospectives of Radu Jude and Chilean duo Carolina Adriazola and José Luis Sepúlveda, the festival also seemed intent on signaling that it is not only political, but provocative. FID hosted the latter’s first ever European retrospective, noting that the filmmakers are rarely programmed outside of South America. For Adriazola and Sepúlveda, this appears, at least partly, by design. Beyond their filmmaking, they run workshops at the Escuela Popular de Cine (Popular Film School) and organize the Festival de Cine Social y Antisocial (FECISO), which resists the traditional urban, middle-class gaze that dominates cinephilia by foregrounding cinema for marginal communities.

My favorite film of the festival was their most recent work Cuadro Negro (2025) which won the Grand Prix at the Punta del Vista Festival earlier this year from a jury including FID’s artistic director Cyril Neyrat. So deadpan it is often unclear whether we’re watching an observational doc or bone-dry satire, this confounding docu-fiction follows “artistic” documentarian Sofía (Sofía Gómez) as she ventures with her camera and tripod into the grounds of the Chilean army—specifically, its titular equestrian acrobatic unit.

Mostly shooting on a low-res handheld digital camera, Adriazola and Sepúlveda’s rough-and-ready images are antithetical to the pageantry on display. Men and their steeds galloping past snowy mountains are stripped of their mythical quality as Sofía belligerently directs the soldiers into awkward tableaus, arms lifted feebly as their horses squirm against them. The project reportedly grew out of the directors’ fascination with horses, which led them to frequent equestrian circles that—unsurprisingly—turned out to be havens for Pinochet-worshipping nationalists. The uneasy entanglement between aesthetics and nationalism is laid bare: the ornamental function of the army’s cavalry and movie-making both rely on a choreography of order and performed dominance.

Sofía is at times comically cruel, as when she orchestrates a bizarre re-enactment of the legendary cavalry officer Alberto Larraguibel Morales setting the world high-jump record on horseback in 1949. She instructs a female soldier to mimic Larraguibel’s pose atop a metal statue mounted on the back of a slow-moving truck (decorated with a skull and cross-bones insignia, a symbol of the Prussian Hussars adopted by the Nazis). Forced into a half-mount position for hours, the soldier’s teary-eyed expression is caught in a dim close-up after finally dismounting. Sofía’s ambivalent performance as a director is Nathan Fielder-esque: both aloof and calculating, she toys with the authority she assumes, exposing the eerie willingness of her subjects to submit to spectacle. Adriazola and Sepúlveda’s anarchic experiment pushes Sofía’s see-sawing power dynamics to an absolute extreme. At one point, she inexplicably moves out of her grandmother’s home and moves in with an older woman who literally prays to Pinochet at night. Rather than the expected rupture, we see a maniacal and surprisingly tender bond develop between the women, shaped by mutual distrust.

A fixture at the festival, prolific Mexican director Nicolás Pereda took part in this year’s FidLab with his upcoming project Everything Else is Noise and premiered his latest feature, Cobre (2025), which won the Special Mention. A wry thriller of bureaucracy that started after Pereda learned about the suspicious death of an activist protesting labor conditions in a mining town, Cobre begins as Lázaro (Pereda regular Lázaro Gabino Rodríguez) finds a dead body on his way to work at the mines.

After Lázaro’s discovery, he becomes slowly encumbered by respiratory issues which are met with skepticism by his doctors, boss and aunt Rosa (new collaborator Rosa Estela Juárez, joining a career-long ensemble cast). Pereda does not build a central narrative around the murder mystery, but moves off-center to explore how systemic violence seeps into the inner lives of those on the periphery, juggling tensions between truth, performance and deception around the ambiguous origins of Lázaro’s illness, rumors around the dead body and Lázaro’s involvement, or white workplace lies. The Kafkaesque apex emerges when Rosa waits for a manager to approve her forged signature on a nondescript document to avoid a minor ouroboric workflow delay. Pereda’s static camera lingers on her face; her breathing is shallow and unsteady, her eyes dart around timidly. Trauma is first internalized, then slowly made external through phantom pains, props and repeated gestures. Lázaro’s compulsive fruit consumption, for instance, becomes a strangely sensual intermediary for displaced and unmet desire. Moments of deliberate performance paradoxically mediate moments of truth. When Lázaro sets Rosa up on a date with his creepy older doctor in exchange for a free oxygen tank, Lázaro and his mum role-play the encounter with Rosa, asking her comically pointed questions about the tensions within their own family. While Lázaro and Rosa perform, the camera pans down to linger on their hands touching timidly as a slow, transgressive desire percolates. As always, Pereda turns seemingly banal interactions into sly displays of power.

Winner of the Prix Georges de Beauregard, Clemente Castor’s sophomore feature Frío Metal (2025) builds on his debut Príncipe de Paz (2019), continuing his focus on adrift youth in the Mexico City suburb of Iztapalapa. Trained at the Béla Tarr film.factory in Sarajevo, Castor—like fellow alumnus Kaori Oda—explores a rich dialectic between subterranean spaces and the human body. The result is a highly symbolic, syncretic universe in which bodies collide dizzily with eroded landscapes shaped by human interference. A loose narrative follows two brothers, Mario (Mario Banderas) and Óscar (Oscar Hernández); the former wakes up in a body that is not his, with “images that don’t belong to him,” while Óscar is mostly absent, having escaped from rehab and disappeared from the family. The film’s segments are divided by various game sequences which operate like a secret code accessing alternate cinematic universes. “You will never progress,” a tarot reader tells Mario—an omen followed by a dreamlike encounter with Lázaro (again, Lázaro Gabino Rodríguez), who teaches him a complex hand gesture that initiates a spatio-temporal drift between urban ruins and mountainous terrain interspersed with non-fiction vignettes of idle suburban youth.

Castor’s work is often aggressively opaque, guided by a seemingly haphazard editing logic that deliberately short-circuits narrative momentum as the film drifts between non-fiction, epistolary voiceover, gestural performance and the supernatural, staged by a largely non-professional cast. Although I can’t say I understood everything, I felt so surprised by the sensation of being adrift, teleporting between ever-shifting film textures and terrains, from the underground to the skies of what appeared like the edge of the world. The film’s dialectics aren’t strictly ideological but affective: like Mario, I found myself clinging to signs, grasping at symbols, trying to decode meaning from disorder in an almost schizophrenic mode before suspending any desire for formal cohesion. The more Castor tears at the fabric of reality, the more forceful the non-fiction vignettes become. I keep returning to the black-and-white 8mm opening shot: a sour-faced roulette girl spins her wheel at a fairground. Even as she hollers for new players, her face reveals that there are no winners.

Pereda and Castor’s films both engage with the ripple effect of violence born from the extraction of natural resources in their native Mexico with radically different methods. Both filmmakers are less concerned with external representations of struggle than with the internal emotional lives of adrift, working-class individuals, foregoing documentary for a form more fantastical as a means of engaging with the conditions of their collective alienation: one evocatively minimalist; another dizzyingly maximalist.

A real discovery for me was French Competition winner Bonne Journée (2025), made over four years with almost zero budget by visual artist Pauline Bastard, who remains relatively unknown outside France. With a distinctive style rooted in a sustained commitment to recycling, here she upends the format of the durational labor film with something more spritely and camp despite remaining largely dialogue-less. At the Emmaüs centre in Grenoble—a cavernous warehouse charity shop that sells everything from kettles and electronics to statues and clothing—Bastard turns her gaze to the mostly immigrant African workers doing the tedious job of taxonomizing, repairing and displaying the incoming barrage of abandoned objects. Bastard carefully confines us within the warehouse, with shots of the famed Grenoble Alps always out of reach beyond a window, or reflected off of a pair of wide-eyed glasses adorned by one of the workers.

Another canonical French recycling film by Agnès Varda comes to mind, but this more closely resembles Sarah Maldoror’s Un Dessert pour Constance (1981) which considers the ways in which found objects can be re-used for unexpected creative purposes and how the labor of African migrants maintains the pristine appearance of the Republic. At first, Bastard’s static camera observes idling workers sorting through piles of junk—at one point, a six-foot-long shirt continually unfurls until it eclipses the man holding it. When they discover cameras in various cardboard boxes, the workers start using them to stage their own images. A kitschy trio of lamps and a pair of big baby dolls are placed gingerly on glittery fabric; their compatriots model the sartorial pieces with coy, vogue pouts. Bastard playfully renounces any steady authorial position as her own frame is subsumed by her companions’ perspectives as they transform the detritus of 21st-century overproduction into a giant costume-shop and stage.

These chichi portraits are finally displayed in frames and monitors dispersed throughout the shop; shoppers fix their gaze on them with quizzically amused expressions. It’s refreshing to see Bastard delicately reimagine the near-rote questions of the art world (what is an art gallery? What are the potentials of image-making?) without falling into self-congratulatory didacticism. In these restagings, the objects curiously sit between multiple worlds: first dispossessed, then iconic, finally just commodity. By reproducing the aesthetic of fashion catalogues and luxury-deco magazines, Bastard both makes fun of our curious fetishistic accumulation of stuff, while also lingering on the seductive quality of such images. Then Bonne Journée finally turns back to question itself: is the film an object or a product?

Related Topics:art big black camera center close-up competition complex design equestrian extreme fashion images Men new night social sports submit white working

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No. 4 Gophers Host Fairfield to Open NCAA Tournament

Published

3 minutes ago

December 5, 2025

Your Sports Nation

MINNEAPOLIS — The No. 4 seeded Minnesota Golden Gophers are getting set to host the NCAA Tournament as they take on the Fairfield Stags (25-5, 17-1 MAAC) on Friday night at Maturi Pavilion. The first match of the day between No. 5 Iowa State (22-7, 12-6 Big 12) and St. Thomas (21-9, 11-5 Summit) will begin at 4:30 p.m. CT and ESPN+ will televise. Minnesota’s match will begin approximately 30 minutes following the conclusion of the first match. The winners of each of Friday’s matches will compete on Saturday night at 7 p.m. inside Maturi Pavilion for the right to go to the Sweet 16.

This season marks Minnesota’s 30th all-time NCAA Tournament appearance, including their 11th straight. The ‘U’ is 28-1 all-time in first round matchups.

GAME 1 INFORMATION

No. 5 Iowa State vs. St. Thomas

Friday, Dec. 5

4:30 p.m. CT (30 minutes after game one ends)

Maturi Pavilion

Minneapolis, Minn.

TV: ESPN+ – Sam Konstan (Play-By-Play) and Meredith Nelson Uram (Analyst)

Radio: GopherSports.com – Tanner Hoops (Play-By-Play)

Live Stats

GAME 2 INFORMATION

No. 4 Minnesota vs. Fairfield

Friday, Dec. 5

Approximately 6:30 p.m. CT (30 minutes after game one ends)

Maturi Pavilion

Minneapolis, Minn.

TV: ESPN+ – Sam Konstan (Play-By-Play) and Meredith Nelson Uram (Analyst)

Radio: GopherSports.com – Tanner Hoops (Play-By-Play)

Live Stats

GAME 3 INFORMATION

Winner of Game 1 vs. Winner of Game 2

Saturday, Dec. 6

7 p.m. CT (30 minutes after game one ends)

Maturi Pavilion

Minneapolis, Minn.

TV: ESPN+ – Andrew Cornelius (Play-By-Play) and Meredith Nelson Uram (Analyst)

Radio: GopherSports.com – Tanner Hoops (Play-By-Play)

Live Stats

TICKETS

Fans can buy tickets for the first and second round matches here.

HEADING INTO THE MATCH

Minnesota leads Fairfield, 1-0, ISU, 25-7, and UST, 3-0

First Meeting: 2019 (Fairfield), 1975 (ISU), 2021 (UST)

Last Meeting: 2019 (Fairfield), 2021 (IST), 2025 (UST)

NOTES TO KNOW

997 — Career kills for Julia Hanson.

258 — Keegan Cook won his 250th career match as a head coach Oct. 12 vs. Ohio St. He’s at 258 for his career.

40 — Minnesota is 40-4 all-time in NCAA Tournament matches at Maturi Pavilion. The last loss was in 2018 vs. Oregon (Sweet 16).

34 — Minnesota ranks 34th nationally (2nd B1G) with 274 blocks.

30 — This year is Minnesota’s 30th ever NCAA Tournament appearance. That is the 11th most of any program in the country.

24 — Julia Hanson has 24 matches with 10+ kills this year in 30 chances (missed Loyola Chicago match).

23 — The ‘U’ ranks 23rd nationally and third in the Big Ten with 2.61 blocks per set.

19 — Minnesota ranks 19th nationally (5th B1G) in hitting % (.278).

14 — Sweeps in 29 matches for the Golden Gophers. They’ve won seven matches in four sets (1-2 in five).

13 — Times this season Minnesota posted 10+ blocks as a team. They’re 10-3 when going for 10-or-more blocks (losses at Oregon, Purdue, Wisconsin).

12 — Minnesota is 12-4 at home this season. Only losses were to UCLA, USC, Nebraska and Wisconsin.

11 — 2025 is Minnesota’s 11th straight NCAA Tournament. They’ve made 26 of the last 27 (missed 2014). They’ve made three Final Fours, four Sweet 16s and an Elite Eight since 2015.

7 — Jordan Taylor ranks seventh in the Big Ten with 1.21 blocks per set, a team-best. That mark leads all Big Ten freshmen.

7 — During Big Ten play, Julia Hanson ranks seventh in the Big Ten with 23 aces. Gilk and Swenson rank ninth with 22.

7 — Gophers head coach Keegan Cook is 7-26 against AVCA Top-25 ranked opponents in three seasons. (Wins vs. No. 15 Baylor, No. 5 Oregon, No. 1 Texas, No. 7 Wisconsin, No. 11 Purdue, No. 23 Indiana and No. 24 Penn St.).

5 — Minnesota ranks 5th in attendance at 4,558 per match (avg.).

5 — Minnesota ranked fifth in the Big Ten with 183 service aces.

5 — During Big Ten play, Julia Hanson ranks fifth in the league in kills per set with 4.02.

5 — Julia Hanson is fifth in the B1G with 4.69 points per set.

4 — Julia Hanson is fourth in the Big Ten with 4.02 kills per set.

4 — Minnesota lost four starters to season-ending injuries in OH Alex Acevedo and Mckenna Wucherer, MB Calissa Minatee and L Zeynep Palabiyik.

3 — Gophers earned All-B1G honors in 2025. Julia Hanson (1st), Stella Swenson (2nd, Freshmen) and Carly Gilk (All-Freshmen).

3 — Straight 20+ kill matches for Julia Hanson in the Illinois, USC and Wisconsin matches. She’s the first Gopher to do so since Stephanie Samedy (’21). She’s hit 10+ in 11 of the last 13 matches.

2 — The Gophers rank second in the B1G in total blocks with 287.

2 — During league play, the Gophers ranked second with 1.77 aces per set. They hold 129 aces (2nd in B1G).

LAST TIME OUT

• The then No. 18 Minnesota volleyball team split its final home weekend, defeating No. 11 Purdue in four sets and falling to No. 10 Wisconsin in three sets. Julia Hanson had 19 kills while Stella Swenson went for 40 assists in the win over Purdue, the Gophers lone top-15 win this season. No Gopher reached 10 kills on Friday vs. Wisconsin as the team was held to just .132 hitting.

GOPHERS IN THE NCAA TOURNAMENT

• The 2025 season marked the 30th year the Gophers advanced to the NCAA tournament. With an at-large bid, the Gophers advanced to the tournament for the 11th straight season and 26th in the last 27 seasons.

• In the first round of NCAA Tournaments, Minnesota is 28-1 all-time. In round two, Minnesota is 21-7.

• The Gophers all-time record in NCAA Tournaments is 62-29. Minnesota has made the Final Four six times (2003, 2004, 2009, 2015, 2016, 2019), national title game once (2004).

• The program has had 31 straight winning seasons, dating back to 1995. The ‘U’ has won 10-or-more Big Ten games in every season except for one dating back to 1999. The program has finished in the top six of the B1G standings every year since 2015.

GOPHERS IN THE RANKINGS

• The ‘U’ entered the 2025 season with a No. 11 ranking in the Preseason AVCA poll (finished 18th in 2024).

• At the end of regular season, the ‘U’ moved up to No. 17 on Monday, going up one spot from last week.

COACH COOK IN THE NCAA TOURNAMENT

• Keegan Cook is 19-10 as a head coach in the NCAA Tournament. He led his Washington teams to one Final Four, three Elite Eights and two Sweet 16s. Both years at Minnesota, the ‘U’ has gone to the Round of 32.

HOSTING NCAA’S AT THE PAV

• All-time in NCAA Tournament matches at Maturi Pavilion, Minnesota is 40-4. Two of the losses came to Iowa State, in the 2008 (second round) and 2011 (Sweet 16) NCAA Tournaments. The other losses were in 2018 to Oregon (Sweet 16) and 1993 to Notre Dame (Sweet 16). Minnesota has won six straight NCAA matches at Maturi Pavilion.

SCOUTING FAIRFIELD

• Fairfield (25-5, 17-1 MAAC) is led by third-year head coach Nancy Somera. In her three seasons at Fairfield, the team has posted a 69-24 record, including a 50-4 mark in league play. They’ve won three straight league titles.

• Fairfield is 0-1 against Power 4 Conference opponents this year, losing 3-2 to West Virginia early on in the season. They have not lost a match since Oct. 24 at Quinnipiac. Offensively, they’re led by Marnie Krubally (2.93 kps) and Allie Elliott (2.69 kps). All-time, they’re 0-14 in the NCAA Tournament. In 2000, they became the first MAAC team to win a set in the NCAA Tournament (3-1 loss at #15 Pepperdine).

SCOUTING IOWA ST.

• No. 23 Iowa State (22-7, 12-6 Big 12) is led by 21st-year head coach Christy Johnson-Lynch. ISU has made the NCAA Tournament in 17 of her 21 years at the helm. This year, ISU holds key wins over No. 18 Baylor, No. 6 Arizona State and No. 16 TCU. ISU will be making it’s 18th trip to the NCAA Tournament in 2025.

• Alea Goolsby (3.26 kps) and Morgan Brandt (9.52 aps) pace the offense while libero Rachel Van Gorp (4.83 dps) leads the defense. Van Gorp was the unanimous selection for Big 12 Libero of the Year while Brandt became the second Cyclone ever to win Big 12 Setter of the Year. Five total Cyclones made the all-league teams.

SCOUTING ST. THOMAS

• St. Thomas (21-9, 11-5 Summit) is led by 23rd-year head coach Thanh Pham. After finishing third in the Summit League in 2024, the Tommies took second this year before they took down top-seeded South Dakota State to win the Summit League tournament title and make their first Division I NCAA Tournament.

• The Tommies set Division I program records with 21 overall wins and 11 Summit League wins, and rank among the top 25 nationally in aces per set (9th), kills per set (12th), assists per set (14th), and attacks per set (22nd).

• Morgan Kealy won her second straight Summitt League Setter of the Year award while Tezra Rudzitis and Megan Wetter joined her on the first team. Anya Schmidt was named the league’s Freshman of the Year.

MINNESOTA’S HISTORY VS. FAIRFIELD, IOWA ST. AND ST. THOMAS

• Minnesota is 1-0 all-time vs. Fairfield. They last met in the 2019 NCAA Tournament, a 3-0 sweep for the Gophers.

• The ‘U’ is 25-7 all-time against Iowa State. The two teams last met in the 2021 season, a swep at the Diet Coke Classic for Minnesota. In the NCAA Tournament, they have met two times, with the Cyclones holding a 2-0 advantage. ISU defeated Minnesota in 2011, 3-1, at Maturi Pavilion. The match was a Sweet 16 game. In 2008, ISU beat Minnesota in four sets in the second round of the NCAA Tournament at the Pav.

• The Gophers are 3-0 all-time vs. UST since the Tommies became a Division I team in 2021. The first two matchups were sweeps in 2021 and 2024. The third was a four-set win for Minnesota this fall (25-22, 25-20, 23-25, 25-18). Julia Hanson had 18 kills and 10 digs to lead the ‘U’ in the match.

STRONG SCHEDULE PREPS ‘U’ FOR POSTSEASON

• The Gophers went 3-6 vs. ranked opponents in 2025. Minnesota was one of nine Big Ten teams to make the 2025 NCAA tournament. Of the Gophers 11 non-conference opponents, seven made the NCAA Tournament.

• The ‘U’ enters the postseason with a top-15 RPI and earned the No. 13 overall seed in the NCAA Tournament.

• In all, the Gophers faced 15 teams that make up the field of 64. Against teams that made the postseason, Minnesota posted a 9-8 record this season.

THREE GOPHERS EARN ALL-BIG TEN HONORS

• Freshman opposite Carly Gilk, senior outside Julia Hanson and redshirt freshman Stella Swenson all earned all-league honors. Hanson was named a unanimous First Team All-Big Ten selection while Swenson made the second team and the all-freshman team. Gilk joined Swenson as a Big Ten All-Freshman Team honoree. Lauren Crowl garnered Minnesota’s Sportsmanship Award.

• Hanson earned her second straight First Team All-Big Ten honor while Swenson and Gilk earned their first honors from the Big Ten.

UP NEXT

If they are victorious, Minnesota take on the winner of No. 5 Iowa State and St. Thomas on Saturday, Dec. 5 at 7 p.m. CT. ESPN+ will televise again.

Link

Sports

Creighton volleyball defeats Northern Colorado

Published

19 minutes ago

December 5, 2025

Your Sports Nation

Creighton volleyball is back in the NCAA Tournament for the 14th-straight season. The Bluejays have their sights set on making it to the Final Four, and that pursuit started on Thursday at the CHI Health Center.This is the fifth straight season that the Jays are hosting the tournament. Check out this fire block from the Jays.Creighton dominated in the first set 25-12.Things were pretty close in set 2, but a 3-0 Bluejay run gave them the 15-12 lead over the Bears.With a slam, the Jays were up 18-15.Northern Colorado got to 25 first, winning set 2, 25-23.The Bears were off to an early lead in set 3.A 5-0 run for CU tied things at 14 apiece.The Bears won set 2, 25-23.The Jays were putting it all out on the court after dropping two sets.A 4-0 run pushed the Jays up 12-4.Creighton won set 4, 25-17.Creighton took the lead in set 5.The Jays defeated the Bears 15-8 in the fifth set to win the match 3-2.Creighton will play Northern Iowa at 6:30 p.m. on Friday at the CHI Health Center.Make sure you can always see the latest news, weather, sports and more from KETV NewsWatch 7 on Google search.NAVIGATE: Home | Weather | Local News | National | Sports | Newscasts on demand |

Creighton volleyball is back in the NCAA Tournament for the 14th-straight season.

The Bluejays have their sights set on making it to the Final Four, and that pursuit started on Thursday at the CHI Health Center.

This is the fifth straight season that the Jays are hosting the tournament.

Check out this fire block from the Jays.