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Doing justice to the “an idea in the head and a camera in the hand” principle, so familiar to Eryk Rocha, Play Field explores the proximity of the take with the faces of the characters and extras to create an immersive, contagious, performative, ceremonial and epic environment about the other side of football: the social and cultural phenomenon that has been disappearing behind a superficial and merchant machine that took the control over one of the most emblematic mass sports. This is also a film about Brazil in all its mystical and tragic complexity, about the power of (believing in) overcoming and about belief, between the mysticism and ritualism. The vibrant and performative side of the soundtrack, from the motivational speeches to the heat of the ambient sound, or the manipulation of the image velocity (present in the use of slow motion or rewind), give effect to the dramatic side of a narrative that builds itself from the forgotten and marginalized, the anonymous without voice and expression, the Brazilian people in its most humble and honest condition. (Paulo Cunha)