On the face of it, Finlay Pretsell’s first feature, Time Trial (2017), seemed like any other underdog sports movie, chronicling the last hurrah of disgraced Scottish cyclist David Millar in his last year as a professional rider at the Tour De France. Others might have taken the easy option and milked this against-all-odds story for dramatic tension, but Pretsell chose instead to focus on the complex mass of confidence and insecurity that lay behind Millar’s public image — the question it asks is not whether Millar will defy the odds and win, but can he survive a loss?
His new
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