When Lewis Hamilton signed on to co-produce F1: The Movie, fans of motorsport collectively sighed in relief. The seven-time world champion's involvement promised to infuse the film with authenticity, particularly regarding the technical aspects of racing and the nuanced experiences of drivers. Additionally, Hamilton has been a vocal advocate for pushing motorsport towards a more diverse and equitable future. Therefore, when the fictional APX GP team was unveiled with a female technical director and a multicultural cast, it seemed like the film was on the right track.
Unfortunately, the film falters significantly in delivering on its promises. The central plot revolves around Brad Pitt’s character, Sonny Hayes, a washed-up former F1 driver who makes a return to the sport after a 30-year hiatus for one last shot at glory. He is recruited by an old friend, played by Javier Bardem, who owns the struggling APX GP team. Together, they partner with Damson Idris’ rookie driver, Joshua Pearce. At the helm of the team is the technical director, Kate, portrayed by Oscar-nominated Kerry Condon. Kate holds the distinction of being the first woman in F1 history to occupy such a senior technical role.
Kate is depicted as brilliant and spunky; however, her character is ultimately undermined. The car she designed is derogatorily referred to as a “stbox,” and the team has not scored a single point in almost three seasons. Enter Pitt's Hayes, a “gambling junkie who lives in his van,” who suggests that Kate should redesign the car for “combat.” Surprisingly, Kate abandons her entire concept, and miraculously, the car becomes competitive again all thanks to a man who has been out of the sport for three decades.
It gets even more troubling. Kate is also portrayed as the love interest of Hayes. Despite her firm stance of not getting involved with drivers, she quickly ends up in Hayes’ hotel room the night before a race. Spoiler alert: they don’t even end up together, which raises the question: why introduce a woman in a groundbreaking position of power only to depict her as incompetent?
One of the few other female characters in the film is a pit crew member, referred to as ‘wheel gun girl’ (if she had an actual name, it certainly went unnoticed). She is shown fumbling around the garage, dropping tools, and botching a pit stop during the film’s opening act. While she does show improvement throughout the film’s runtime, the portrayal remains disappointing. This trend is not unfamiliar for director Joe Kosinski and producer Jerry Bruckheimer. Their previous blockbuster, Top Gun: Maverick, featured Monica Barbaro as one of the elite Navy pilots, whose struggles were not defined by gender. This stark contrast makes the new film’s depiction of women feel particularly frustrating.
In F1: The Movie, the failures of female characters are too often rooted in their gender, reflecting a long-standing stereotype in what has been considered a man’s world. It’s worth noting that the film fails to pass the Bechdel Test, as the only notable female interaction involves Joshua Pearce’s mother, who mostly swoons over Pitt’s character. Furthermore, Pearce’s manager suggests that his career is secure because “the ladies love his smile.” This implies that a woman can only enjoy the sport based on the attractiveness of its male drivers, which is a disservice to female fans.
Despite the movie's shortcomings, one of the funniest lines is delivered by a woman who meets Pearce in a nightclub and asks, “Can you introduce me to Carlos Sainz?” Originally, this scene was meant to feature ‘Bridgerton’ actress Simone Ashley, who had a significant role in the film but was ultimately cut from the final edit. Kosinski mentioned that multiple storylines were left on the cutting room floor, which is typical for many films, but Ashley's absence is particularly noticeable given her previous prominence in pre-release promotion.
During a recent press conference, filmmakers reminded the F1 media that they are not the target demographic. It’s evident that the movie is designed for an audience with little to no Formula 1 knowledge, but this demographic certainly includes women. When Bruckheimer joked about men “dragging their girlfriends to the cinema,” it felt like an unspoken admission of the film’s gender dynamics. While there are elements to appreciate in F1: The Movie, viewers seeking strong, layered, and competent female characters should temper their expectations.
