Freedom Fields review - Libya’s next freedom fighters

Insightful documentary shows how women use football to break boundaries

Set in the months and years after the Libyan revolution, Freedom Fields follows several women aiming to compete in international football. The documentary finds the players excitedly preparing for their first overseas tournament. However, it soon becomes clear that liberation doesn’t equate to freedom, as threats of violence from religious extremists cause the Libyan Football Federation to cancel the trip.

It’s clear that British-Libyan filmmaker Naziha Arebi originally planned to follow the women to the tournament, an uplifting tale of competition and sisterhood. Instead, we catch up a year later to find a much more complicated situation. With the group all but disbanded, the players have given up their dreams: some have accepted marriage, others bury their head in studies. It’s not until one last opportunity arises that those old fires are relit.

Freedom Fields is often a fascinating watch. With a constant threat of retribution, the women must practice at night while bombs and gunfire ring out across the city. Even when a blackout cuts the floodlights, cars are lined up to light the pitch. Their determination is unbreakable, even paying for their own travel to compete as a private team.

The film’s most affecting moments come when the women confront their situation

However, it can be difficult to follow what’s happening at times. The fly-on-the-wall style means that many situations lack context, with the viewer left to keep up with conversations and guess their lead up. It also feels like half of the story is left off camera. The middle section gives a rare look into life in Libya, but occasionally treads water, while the five year catch up at the end shows how much we missed. This is no doubt due to when the crew could be present, and does not detract from the overall story.

The film’s most affecting moments come when the women confront their situation. In one outburst, one player explains how the revolution promised freedom, but life for women has not improved – if anything, religion has made it stricter. It’s a subtle film, but it offers an unparalleled insight into life after the Arab Spring, featuring some truly powerful women.

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
The women must practice at night while bombs and gunfire ring out across the city

rating

4

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more film

The Bad Seed explains the cost of home truths while making documentary Ellis Park
Kathryn Bigelow's cautionary tale sets the nuclear clock ticking again
The star talks about Presidential decision-making when millions of lives are imperilled
Frank Dillane gives a star-making turn in Harris Dickinson’s impressive directorial debut
Embeth Davidtz delivers an impressive directing debut and an exceptional child star
Leonardo DiCaprio, Teyana Taylor, and Sean Penn star in a rollercoasting political thriller
Cillian Murphy excels as a troubled headmaster working with delinquent boys
Ann Marie Fleming directs Sandra Oh in dystopian fantasy that fails to ignite
In this futuristic blackboard jungle everything is a bit too manicured
The star was more admired within the screen trade than by the critics
The iconic filmmaker, who died this week, reflecting on one of his most famous films