With such documentary series as Cheer and America’s Sweethearts: Dallas Cowboys Cheerleaders (both on Netflix) in the last few years reflecting a far more competitive mentality to the sport of cheerleading, a movie like Backspot feels like its release is suitably timed to capitalise on the fact that this is a sport far removed from the window-dressing-male-gaze it, for so long, had been linked to.
Blending a temperament of exploring identity, industry toxicity and personal stakes, D.W. Waterson‘s at-times intense drama centres around Riley (Delivery Jacobs, also serving as the film’s producer), a talented and determined backspot on her cheerleading team; a backspot, for the uninitiated, ensures the safety of the flyer during complex stunts and dismounts. Watching the level-up squad, the Thunderhawks, from afar in awe, Riley earns an enticing spot on their team after she quite shrewdly impresses the team’s hardened coach, Eileen McNamara (Evan Rachel Wood); who, as Riley learns, doesn’t appreciate having Dexys Midnight Runners’ seminal classic “Come On Eileen” sung to her, even as a joke.
Seemingly an after-thought at home, where she almost parents her quietly-spoken mother (Shannyn Sossamon), Riley dedicates herself to perfecting her cheerleading craft. Her teammate girlfriend, Amanda (Kudakwashe Rutendo), is by her side, as is their bestie Rachel (Noa DiBerto), but the more Riley pushes herself to be what she perceives as Eileen’s version of perfection, she runs the risk of tainting the relationships that truly matter.
Whilst such a narrative as Riley’s isn’t exactly original in the realms of the sports movie genre, Joanne Sarazen‘s script manages to elevate beyond expected tropes, thanks to the film’s queer lens which feels incredibly organic and not as if it’s ticking a box for the sake of it. Waterson, who identifies as non-binary, has mentioned that Backspot is the type of film they wished they had viewed growing up, and such sequences as when Riley and Amanda find out Eileen herself is a lesbian and how it’s played with such sincerity further speaks to a sense of positive representation; the two girls thinking Eileen’s queerness makes her “even cooler” highlights a sense of accomplishment for them, as they too believe that they can hold positions of power in spite of their sexuality.
There are certain plot strands that don’t always feel entirely realised, as well as some characters we wish were fleshed out further, but there’s no denying Backspot is effective storytelling, layering the sinister nature of such a cherished sport with a level of entertainment that, at once, expresses cheerleading’s severity and obvious charm. Grounded by an undeniably impressive Jacobs, with Wood providing strong support in another turn that speaks to the appeal of her intriguing new career path, this is a cautionary tale that warns of the extremes of dedication, whilst proving a love letter to the art of cheerleading and the zeal it requires.
THREE AND A HALF STARS (OUT OF FIVE)
Backspot is screening as part of this year’s New Farm Queer Film Festival, running between October 3rd and 13th, 2024. For more information about the festival, head to the official site here.
