This piece will contain spoilers for the film Challengers!
A film full of passion, angst and raging homoeroticism, Luca Guadagnino’s Challengers has opened my eyes to how sexy tennis can be.
I have always viewed tennis as an inherently sexual sport, which is odd as it is one of the few sports that has no physical contact. But the constant grunting and sweat dripping from the players in a match that can go on for hours embodies the passion and determination that exists on the court. In the fast-paced Challengers, Guadagnino uses this as a vehicle to explore the relationship between Tashi (Zendaya), Art (Mike Faist) and Patrick (Josh O’Connor) that spans over a decade.
As Tashi explains to Art and Patrick early in the movie, tennis in its purest form is the relationship between two people on the court at the peak of their performance. They’re no longer playing tennis; they’re telling a story. Throughout Challengers, tennis is used to break down and read into these characters and their connection with one another. Which is essentially just one horny, messy yet encapsulating relationship.
Told through a non-linear narrative, the film begins and ends with the same match. Art and Patrick, childhood best friends and team-mates turned against each other due to ‘homewrecker’ Tashi (a term she jokingly referred to herself as in the film, but then essentially became one), duel against one another on the court, in a highly visceral and intense performance. The multiple camera angles and shift of POV’s, from the players to the tennis ball itself, draw the audience in for an insane experience. And not to forget, the score composed by Trent Reznor and Atticus Ross adds an eccentric and dynamic layer to the story that deserves a separate analysis of its own due to its perfection and suitability for this film. Challengers is essentially sex without the sex.
Guadagnino’s filmography is one with a history of both representing queer characters, and the raw human emotion that can accompany the exploration into queer relationships. Most notably is his 2017 romance-drama Call Me By Your Name, which follows the story of young Elio who falls for the older Oliver. This film exposes multiple queer experiences, with the honorary one being queer love denied for heteronormative love. Guadagnino is no stranger to representing queer love on screen, and is also no stranger to representing love in unassuming ways. His 2022 romance-horror Bones and All (although not representative of queer love) showcases the act and devotion of love through cannibalism. His previous films are evidence that Guadagnino is a director whose approach to expressing human emotion in its rawest form is not limited in its forms of expressions, and Challengers is another work of his added to this list.
The lust, desire and queerness emanating from all three characters is palpable. Challengers does not shy away from the stark emotion and humanity that is seen in both sport and in friendship. Even if you’re not huge into sport, and don’t know anything about how tennis actually works, it doesn’t matter. Throughout the film, both Art and Patrick struggle to differentiate if what they are talking about or feeling is about tennis, or about their relationship with each other and with Tashi. I believe Tashi also questions whether she is referring to tennis or reality. Together, the three of them go in and out of a complex three-way relationship, oftentimes with Tashi in charge and the two boys just being her puppies. This continues throughout the film, both in the days leading up to the final match, and in the years before.
Having her tennis dreams crushed due to injury, Tashi lives through Art as he progresses into going pro. However, from the start of the film onwards, you can tell something is off. With Art and Patrick on opposite sides of the court and Tashi in the middle, right where the net is, as if she’s the game maker and the men are her pawns. Yet, it’s established pretty quickly in the film that Tashi is in fact married to Art, with Patrick seeming to be an outcast. Despite being married, Tashi’s relationship with Art serves more as a coach than partner. It’s almost as if she’s with Art solely for tennis. Before Art, she was with Patrick, but they broke up after she said he won’t be going anywhere in his tennis career, and he said he didn’t need her to coach him. In Tashi’s eyes, she couldn’t see a tennis-centred life with Patrick. And so, she moves onto Art.
Art, being more submissive than the brazen Patrick, seems to have his whole tennis career shaped by Tashi. It can be seen as she manages his coaching, his scheduling, and how he can become better. This is essentially what leads Art to entering into a “Challenger” event, which is what the narrative switches back to multiple times in the film as the central focus.
In order to get him back on track, Tashi believes building his confidence up by playing in a minor tennis event like this, Art will get in the headspace to compete in the U.S. Open. Instead, this is where it all comes to a head and the decade-long relationship between the three characters is opened up for the audience to consume.
The court is what Guadagnino uses as a mode to further display and develop this three-way relationship this is displayed; despite being separated by a physical net, both Art and Patrick are boxed in on this court, forced to face one another. Although Tashi sits to the side, the net feels like an extension of herself that transpires onto the court, creating a barrier between the two men.
Queer subtext has always existed within the arts, sometimes more well-hidden than others. But any LGBTQ+ person can sense it, no matter how heteronormatively disguised it can be. The history of cinema is expansive, especially the history of queer cinema, although it is not as noticeable. Most notable films that are categorised into queer cinema aren’t even about being queer; it’s the representation, the actions, the dancing, the intimacy and so many more components that fall under the umbrella of queer subtext. A prime example is William Friedkin’s 1973 horror The Exorcist. Many of those in the LGBTQ+ community have pulled from the film that this entity possessing young Regan is a metaphor for queerness, with the Church stepping in to exorcise evil (the evil being queerness). A classic example of religion-based trauma. We love Catholic guilt.
As the decades went on, queer subtext definitely became less associated with a literal demon entity possessing a child and more associated through the likes of friendship, which is what Challengers falls under. Off the top of my head, films that jump out are the likes of Dead Poets Society (1989), Thelma and Louise (1991) and the 2009 horror-comedy Jennifer’s Body, which yes is technically about a teenager being host to a flesh-eating demon. But she’s eating *boys*, not people, and the tension between Needy and Jennifer was already established even before Jennifer became possessed.
These are just a few examples; none of these films are actually queer, yet when looked through a queer lens, the story is enhanced and multi-dimensional. More recent examples of queer subtext in films have progressed beyond the idea that there must be inherent suffering and distress associated with it are the likes of Luca (2021), which explores the coming-of-age story between two young sea monsters who fear to “outed” in the small Italian village they reside in as they take on human form.
I do believe if you look hard enough, queer subtext can be drawn out of the majority of films in some shape or form. With that being said, you don’t have to look very hard to see it in Challengers, as it goes far beyond the ‘they seem to be very good friends’ narrative. With tennis being the vehicle driving the subtext, the relationship between Art and Patrick in particular is one that many of those in the LGBTQ+ can identify with: the blurry line between platonic and romantic attraction, a heteronormative figure getting involved, and the difficulty of wanting someone that you know you cannot get.
The hotel room scene is indicator number one of queer subtext. Yes, Art and Patrick are waiting for Tashi to come over, but by the end of the scene they’re all over each other whilst she sits back and observes. The hidden desire within them is unearthed almost immediately. Tashi serves as a sense of heteronormativity for both the boys and the viewer, but once she squeezes out the information of what they got up to in boarding school together, the cloud around their true relationship disappears.
Throughout the course of the story is an undeniable attraction between Art and Patrick towards each other. Right off the bat, once the two boys see Tashi in person for the first time, Patrick grabs Art’s thigh, a gesture that immediately suggests that something more than friendship is at play, and is heightened by the camera shifting down to follow Patrick’s hand and lingering on this physical contact. A parallel seen in the film is near the beginning when Tashi holds out her hand for Art to spit his gum into, a simple enough scene until we’re then shown that Patrick used to do the same for Art, signifying that the two of them shared a bond that equates to what Art and Tashi now share. Like many other films with underlying queer subtext, the subtlety of both men’s gestures towards one is what highlights the depth of their relationship. I would argue that these scenes, along with the one where Patrick scoots Art’s stool closer to him, demonstrate the longing one another have for each other even better than the scene of them making out in the hotel room. Challengers is full of small gestures made by the two men that speak volumes about their relationship with one another when not influenced by Tashi’s presence.
The sauna scene is one I found to be pivotal for the queer subtext in Challengers. Both men, barely covered by towels, are practically oozing lust mixed in with their sweat as they speak down upon one another. It’s a vulnerable moment; both haven’t spoken to each other in years, and aren’t exactly on good terms. The dialogue is tense, with neither man backing down. It’s like watching a game of tennis, with the camera shots going between Art and Patrick, like a ball between racquets. Despite this, the score in the background is exciting and anticipatory. Quite the contrast to what is being discussed, yet it switches the tone entirely and I genuinely did think at one point they were going to rip off their towels and go all out in the confined and sweaty space. As if that wasn’t enough, Patrick drops the smirk that seems to be his permanent facial expression, and asks if they’re even talking about tennis anymore.
PATRICK
I don’t matter?
ART
Not even to the most obsessive tennis fan in the world.
PATRICK
We’re not talking about tennis.
ART
What the fuck else do I have to talk to you about?
Credit must be given to O’Connor in this scene, as the pure look of longing and love in his eyes encapsulates Patrick’s love for Art, and for his character is no longer seen as the confident and wild man he usually is depicted to be. Art looks down on him, literally and metaphorically, as Patrick asks him if he doesn’t matter. Literal puppy dog eyes on this tormented man’s face. A scene that brought an ache to my heart, and one that many, especially in the LGBTQ+ community, can relate to. In a sport where the two opponents have a physical barrier between them and cannot cross it, Guadagnino restructures tennis to explore the dynamics of a relationship throughout Challengers, and it is quite crazy to think that all of this desire and tension can be created and disguised within one of the least physical contact sports out there.
Context for the final match between Art and Patrick is highly important, especially as the night before is what ultimately influenced the way the match played out. Art admitted he was tired of tennis and wanted to retire, which put his relationship with Tashi on the line, as she says she will leave him if he doesn’t beat Patrick. Alongside this, Patrick had suggested that Tashi coach him instead, as he has the passion for tennis unlike Art, and can go further. Once again, the three become intertwined in each other’s lives, both on and off the court. It doesn’t help that Tashi and Patrick end up having sex that same night, both agreeing that Patrick will purposefully lose so Art can redeem himself and continue his tennis career. Did Tashi ultimately force Patrick to lose in order to save her marriage, or to save her life of playing tennis through Art? Or is her marriage to Art so mixed up in her need to live through someone else’s tennis career to the point where she doesn’t even know herself? At the core of all these relationships is tennis; it’s what initially bonded Art and Patrick, what drove Tashi to her success and demise, and the sport as a whole is what brought the three people together.
Earlier in the film, Art questions Patrick if he and Tashi had sex after getting her number and going on a date. Without saying anything, Patrick confirms by placing the tennis ball at the throat of the racquet; a tic he notices that Art does before he serves. In this scene, the racquet and ball is the signifier of the start of this three-way relationship. Patrick doesn’t tell Art, he shows him through tennis. Fast forward to the final match, Patrick locks eyes with Art across the court, and places the tennis ball at the throat of his racquet, signalling that he and Tashi had sex again. And now Art knows. Without a word said, he realises his marriage is essentially over, all through the simple gesture of a ball being placed against a racquet. There is so much context behind this simple move, that others off court (even Tashi) are oblivious to. It’s a reminder to Art that Tashi is not his, despite him being hers. Tashi belongs to tennis, and she’ll use whoever she can to get to it.
This plant and payoff had everyone in the cinema audibly react, through a gasp, a laugh, some both. Although a bit predictable, the impact it had was not a bit dampened.
This earth-shattering revelation that despite being married, having a kid and being his coach, Tashi is still not committed to Art. Once again, it’s tennis she’s committed to. She knew that Art was not reaching his potential, and when presented with the opportunity to coach Patrick, this excited her as the prospect of finally getting to live out her dream as a professional tennis player was somewhat reachable if she had fresh meat to coach.
Along with this plant and payoff affecting Art and Tashi’s relationship, it also affects and arguably speaks volumes about Art and Patrick’s. Despite it seeming like their connection to one another is ultimately severed at this point, I feel like this moment actually brings them closer and shifts the dynamics of their friends-turned-rivals. After all those years, Patrick remembered the meaning behind that gesture, as well as remembering Art’s tic. Their years of friendship all come to a head at this moment. Patrick, with that same smirk on his face, draws Art in to look at him, and only him. Like previous scenes, both men are now solely focused, and dare I say, obsessed with one another. Fitting to his character, I believe Patrick slept with Tashi to provoke Art. If he was truly ashamed of his actions, why on earth would he then re-enact this moment he and Art shared years before?
This trope within queer relationships is seen a lot in media, with there being an undeniable attraction for one another between two members of the same sex. To ruffle some feathers, a member of the opposite sex is added to the relationship as a way for one of them to show off and turn the other one’s gears. As well as this is society’s heteronormative way of living. In many times, those in the LGBTQ+ community needed to present as cis-het, yet had a very close relationship with their “friend” of the same sex. Through the inclusion of a member of the opposite sex into a same sex friendship that ends up threatening the queer relationship, the gritty and bare emotions are revealed. This trope is essentially what Challengers is comprised of; Tashi inserting herself into Art and Patrick’s “friendship”, and this all comes to a head in the perfectly paced scene of Patrick placing the tennis ball against the throat of his racquet.
Looking fed-up and upset, Art hurls a tennis ball at Patrick’s head, obviously displaying his anger towards him and the entire situation. Having landed outside the box, Art serves again, still in a tie-break. A tie-break that changes the pace of the game completely. Sweat dripping from Art’s face onto the camera as he looks down, the momentum switches immediately. This is where both players reach their careers’ magnum opus.
This competitive side of Art is suddenly found, and the pair duel it out in a sweat-covered game full of emphasised grunts and shots of their muscles working tirelessly as they hit the ball back and forth in ways that seem physically impossible. The multiple switches of POV’s to close up shots of their faces, as well as Tashi’s as she observes in the audience is nothing short of mesmerising. As mentioned earlier, at one point the POV switches to the tennis ball itself, so the audience is literally being thrown around the court between Art and Patrick. You’re placed in the motive and reasoning for this film: tennis. It essentially feels like the three of them are having a threesome on the court. And the climax is Patrick hitting the ball so high up above Art’s head that you think that’s it, the game’s over. But in a heightened state of what seems like ecstasy, Art launches himself in the air, above Patrick, and launches himself over towards him, over the net, and crashes into him. A scene so intense and erotic that you think ‘how can this be about tennis’. It felt like all of those years of undiscussed tension between the pair is relieved there and then.
In that moment, Tashi jumps from her seat in the bleachers and yells “COME ON”. A guttural yell heard only once before from her, back in the early days of her tennis career before her injury. In that moment, Tashi had done it. She finally got her two boys that she’s been intertwined with for over a decade to showcase that same level of passion and intensity she’s been unable to show and experience herself. Like she said, tennis is the bond between two players, romantic and sexual. And the whole film centres on Art and Patrick’s match, with Tashi in the middle. This mirrors the entire story of Challengers, as the film focuses on the connection between Art and Patrick, with Tashi inserting herself wherever she pleases. Standing in the audience looking out on the two men, with one quite literally mounted on top of the other, Tashi sees in the boys that level of intimacy and storytelling only seen in what she described as true tennis. And wow, did that game deliver a story.
Challengers is playing in cinemas now
