Everybody wants something from Portuguese football superstar, Diamantino Matamouros: his trainer father sees a champion, his sisters see a meal ticket, and his country sees a hero. But when Diamantino misses the decisive kick at the World Cup, he begins to question everything he has ever been told about the world around him.
So begins the wild ride that is Gabriel Abrantes and Daniel Schmidt’s Diamantino, Grand Prix winner of Cannes Critics’ Week. It is in equal measures a shape-shifting fairy tale, a gender-bending romance, a sci-fi-tinged body horror, and an uproarious social (media) satire of modern Europe. Though the film wades through a heavy backdrop of digital misinformation, the refugee crisis, and the rising tide of right-wing nationalism, Abrantes and Schmidt’s light touch tap-dances through these real-world traumas, effortlessly absorbing new textures and tones along the way. Diamantino looks at the post-Brexit era through a funhouse mirror, and within that warped reflection, sees that a better world is possible.