It’s awards season time again, and, like in other years, the queue of films either “based on a true story”, “inspired by the life of” and biopics in general is forming an orderly queue. Springsteen: Deliver Me From Nowhere, The Testament of Ann Lee, Blue Moon, The Smashing Machine, Marty Supreme, Hamnet, and more are at the front of said queue, but there are plenty more to help teach us some history lessons (so to speak), and whether you know much about the film’s subjects or not, there’s usually something to enjoy. 

David Michôd’s Christy is also part of that bunch, and while some tend to get overly hyped with praising such films, there are a few surprises in store from this one, too. Does it break the mould of the biopic, particularly those about the life and career of a sportsperson, artist or actor? No, but it is a soaring story of a woman who rose to prominence through determination, heartbreak and her survival instincts? Absolutely. For Christy Martin, one of boxing’s most iconic women and a trailblazer in so many incredible ways, the film does plenty to honour her triumphs, achievements, as well as her tribulations and miraculous overcoming of adversity. 

At its core is a stunning turn from Sydney Sweeney, an actor whose off-screen life has become much of the talk ahead of the film’s debut at last month’s Toronto International Film Festival, but who should silence any critics with this awards-worthy portrayal. She is the reason Christy registers so emotionally throughout: committed to every physical and emotional challenge – from the intense fight-training to fully embody the style and power of the film’s subject, as well as gaining over 30 pounds to match her stature, she effortlessly embodies the champion boxer. It’s a transformation that isn’t just about body and muscle, it’s in the way she moves, breathes, reacts to punches and pain, whilst handling her internal battle with vulnerability and nuance. 

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Opposite her, Ben Foster as Jim Martin – Christy’s husband and trainer – delivers another stellar turn that continues the actor’s long-standing gift for playing dangerous and unpredictable. From supporter and manager to abuser in almost a glint of his charm, Foster portrays James’ menace and arrogance to perfection, as he slides gradually into his controlling and possessive nature as Christy’s success blinds his apparent love. That said, despite both their strong turns,  some of the emotional stakes and sinister undertones feel slightly cooked and pull away when they should perhaps linger a little longer for maximum emotional impact.

Director Michôd, known for his work on Animal Kingdom, The Rover and The King, is a slightly unobvious choice for a story such as this, but his directional style certainly shines through in part. The rise to fame first act through Christy’s early fights and moving through her “underdog” era are kinetic and sharp, whilst the energy in the ring is high thanks to quick and nimble cinematography from Germain McMicking, a tough challenge given that boxing has been filmed almost every which way. It’s out of the ring where the film becomes more uneven, with the domestic abuse plot points, whilst treated with gravity and sensitivity, feel structured to hit the beats rather than explore the psychology underneath. We see all of Christy’s successes and struggles, but the film rarely pauses to try to unpack and understand what she was truly fighting for. 

Christy is an acting showcase for both Sweeney and Foster, who are both exemplary throughout, and while Michôd’s direction is solid,  they ultimately can’t quite overpower the flaws in its powerful yet hollow screenplay and storytelling that, whilst earnest and mature, only scratch the surface and, ultimately, are buried under genre conventions. 

★★★

Screening as part of the 2025 BFI London Film Festival on October 17th, 18th and 19th / In UK cinemas on November 7th / Sydney Sweeney, Ben Foster, Merritt Wever, Katy O’Brian / Dir: David Michôd / Black Bear / 15

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