En el Séptimo Día is more of an art film with a message from Director Jim McKay. It originated with a script that he drafted in 2001. The story is an intimate portrait of Mexican immigrant life, pulled from his present neighborhood in Brooklyn as well as his experience years ago, when he worked in a Noe Valley restaurant in San Francisco and watched movies at the Roxie Theater.
Campo de Jogo (Sunday Ball) is a kinematic metaphor for Brazilian soccer. Director Eryk Rocha lays bare the intense emotions of favela futebol. He assembles a film that is both documentary and cinematic art. It was shown at New York’s MOMA and is similar to, but much better than, the 2006 art piece on Zidane.
This Zinedine Zidane documentary is not really a soccer movie but is actually a performance piece more suited for an art-house cinema or museum.
Artists and filmmakers Philippe Parreno (French-Algerian) and Douglas Gordon (Scottish) sought to create a cinematic portrait of a working man who was also the best soccer player in the world. They realized that the screen is about the same aspect ratio as a football field, and the length of a feature film is about the same as a match.
The documentary This is Not a Ball was made in anticipation of the 2014 World Cup, but it is not really a soccer movie and instead captures the creative process of the Brazilian artist Vik Muniz.
Information about Brazilian great Heleno De Freitas is scanty when compared to Garrincha or Pelé. He was born in 1920 and predated Brazil’s success on the world stage. Heleno won no trophies for his club Botafogo, he played in no World Cups, and so there is no film of his play.