Director praises Douglas Gordon’s conceptual genius at Edinburgh Film Festival

When you look at the cinematic landscape of sports drama, many stories are polished and predictable. But sometimes, the most compelling narratives emerge from the fringes, chronicling the dramatic, messy realities of human endurance and failure. Finlay Pretsell’s debut feature, Time Trial (2017), is one such powerful example.

At first glance, the film appears to be just another underdog sports movie. It follows the intense, grueling world of professional cycling, focusing on a period that was arguably the most challenging and fraught with emotion for one of the sport’s most complex figures: disgraced Scottish cyclist David Millar.

It is more than just a retrospective of a racing season; it is a poignant look at a final chapter. Time Trial captures Millar’s final year as a professional rider, a time defined by immense pressure, lingering regret, and the relentless pursuit of a goal that seems perpetually just out of reach.

The narrative delves into the high-stakes environment of the Tour de France, examining how external pressures collide with internal struggles. It is a deep dive into the psychology of an athlete fighting against not only the physical demands of the race but also the weight of past decisions and public perception.

Many might have chosen an easier path, taking the straightforward route and capitalizing on the inherent drama of this against-all-odds story. However, Pretsell’s approach elevates the material, transforming a sports chronicle into a deeply personal exploration of legacy, redemption, and the bittersweet nature of a career lived at the absolute limit.

The film reminds us that true sports cinema isn’t just about victory; it’s about the journey, the fall, and the unforgettable moments that define a life lived on the razor’s edge.