Backspot
Directed by D.W. Waterson
Written by D.W. Waterson and Joanne Sarazen
Starring Devery Jacobs, Evan Rachel Wood and Kudakwashe Rutendo
Classification N/A; 93 minutes
Opens in select theatres May 31
Critic’s Pick
Out to shed the perception of cheerleading as a “pretty” sport, Canadian DJ-turned-filmmaker D.W. Waterson’s Backspot is a punchy and ambitious feature debut.
The film stars Kanien’kehá:ka actor Devery Jacobs (the Reservation Dogs star who pulls double duty here as a producer) as high-school athlete Riley, a young queer cheerleader whose anxiety is equal only to her drive. Raised in a tense household by straitlaced mother Tracy (Shannyn Sossamon), Riley is in a devoted relationship with fellow cheer-team member Amanda (2023 TIFF Rising Star Kudakwashe Rutendo).
When a handful of spots opens up on the school’s elite Thunderhawks team, Riley, Amanda, and teammate Rachel are quickly scouted by the squad’s intense captain Eileen (Westworld’s Evan Rachel Wood), whose take-no-prisoners approach to coaching leads to tensions between the young women, as well as an emotional spiral for Riley, whose ambition almost leads her to the point of self-destruction.
A propulsive electronic soundtrack patterns Backspot’s action, with montages of bloody and battered appendages juxtaposed with the cheerful presentation the cheer team must keep up on stage. Jacobs, a former gymnast, does all of her own stunts and Waterson keeps the camera focused on the intricacy and athleticism of the on-screen movements. It’s a kinetic love letter to a sport undeniably rooted in the appearance of ease and joy in spite of the physical toll it takes on the body.
The film also explores the dynamic between coaches and their athletes, particularly within the context of intergenerational queer dynamics. While Eileen is strict to the point of unforgiving, assistant coach Devon (Thomas Antony Olajide) is firm but caring. Upon learning of Eileen’s now ex-wife, Riley and Amanda are quick to celebrate her queerness, youthfully revelling in the image of a tough-as-nails queer coach like Eileen leading them to a win.
Devery Jacobs in a scene from Backspot.D.W. Waterson/Supplied
It is only when pushed to her limit – both by Eileen’s tenacious leadership as well as her own internal emotional firestorm – that Riley is able to see those dynamics for what they truly are. A standout moment in the film comes when underage Riley sneaks into a queer bar to see Devon perform as a dancer in a drag show.
Feverishly overjoyed by the energy of the space while also feeling disconnected from her family, friends and girlfriend, Riley is found out by Devon, who offers the safe and calm of his home for her to stay at for the night. It is a moment of tenderness and understanding that allows Riley to experience what intergenerational queer kinship and care might actually look and feel like, as opposed to the slurry of contradictory feelings and actions she has projected onto Eileen.
In standout performances, Jacobs, Wood, Rutendo and Olajide all offer their own strong and considered emotional orbits within the Backspot constellation. Here, characters, their internal worlds and their intersecting narratives are well thought out and organic in their undertaking, all moving alongside each other with a studied and caring effortlessness.
An energetic coming-of-age film that pairs the tonalities of a rugged sports flick with the depth of a well-scripted drama, Backspot is a promising debut from Waterson that will leave audiences cheering.
Special to The Globe and Mail