Nossa Chape | Telescope Film
Nossa Chape

Nossa Chape

Critic Rating

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  • Brazil
  • 2018
  • · 101m

Director Michael Zimbalist
Genre Documentary

Nossa Chape tracks the rebuilding of the Chapecoense football club in Brazil after an airplane crash in 2016 left all but three of the players dead. The question of moving on or honoring the dead weighs heavily on the survivors, the new team, the families, and the city as the documentary focuses on how grief is both an individual and a collective process.

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What are critics saying?

100

Film Threat

Nossa Chape has an urgency and poignancy that several narrative dramas only wish they could achieve.

100

San Francisco Chronicle by G. Allen Johnson

The film is an excellent reminder of how important soccer is globally. It’s more than a sport.

100

Film Threat by Bobby LePire

Nossa Chape has an urgency and poignancy that several narrative dramas only wish they could achieve.

91

IndieWire by Steve Greene

By focusing on what binds those on the pitch and those in the bleachers, Nossa Chape doesn’t just wonder if some things are “bigger than the game” — it proves it.

80

Film Journal International by André Hereford

Sibling filmmakers Jeff and Michael Zimbalist’s riveting Nossa Chape (Our Team) reveals at first a team and a town that have been utterly destroyed by the unimaginable. Then, with the tension of a well-plotted sports drama, the documentary tracks the team’s rise from the ashes of grief back to something like normal.

80

The Hollywood Reporter by Sheri Linden

Nossa Chape is a testament to how moving forward does not require leaving the past behind.

80

Los Angeles Times by Michael Rechtshaffen

The film probes that tricky-to-reconcile bridge between honoring the fallen and moving forward.

75

Movie Nation by Roger Moore

It’s a credit to the makers of the soccer documentary Nossa Chape that they’d still have a decent film, even without the tragedy that underscores the one they made.

50

The New York Times by Glenn Kenny

The movie the directors have made doesn’t have the passion that its subjects do.