---
title: "Diego Maradona"
year: 2019
kind: "film"
canonical: "https://film.one/film/diego-maradona"
fi1m_id: "diego-maradona"
imdb_id: "tt5433114"
tmdb_id: 536841
wikidata_id: "Q63457407"
fi1m_score: 76
critics_score: 69
critics_reviews: 19
published: "2026-10-03T00:50:09.128787+00:00"
updated: "2026-10-03T00:50:32.240582+00:00"
region: "AT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Diego Maradona (2019)

Directed by Asif Kapadia · 2h 10m · Documentary

## Identity

Diego Maradona

- **Canonical:** https://film.one/film/diego-maradona
- **Type:** Film
- **Fi1m ID:** diego-maradona
- **IMDb ID:** tt5433114
- **TMDB ID:** 536841
- **Wikidata ID:** Q63457407
- **Same entity:** https://www.imdb.com/title/tt5433114/, https://www.themoviedb.org/movie/536841, https://www.wikidata.org/wiki/Q63457407

**Fi1m score: 76** · Critics 69 from 19 reviews

*In a sentence:* Diego Maradona gets past the defenders more easily than he gets a moment to himself

> Asif Kapadia’s documentary is worth seeing for its football and its unnervingly intimate archive. It is less persuasive about Diego Maradona’s choices, and its 130 minutes could use a firmer cut.

## Synopsis

At SSC Napoli, Diego Maradona plays football under scrutiny that extends beyond the pitch. Archive footage follows him through matches and moments away from the game, while his own voice contributes to the account. The club has its own witnesses: Corrado Ferlaino, its former president, appears in archive footage, and Ciro Ferrara, a former player, contributes in voice. The footballer’s efforts to perform come with demands on his life away from the matches. Asif Kapadia follows the attention surrounding him, using recorded images of the player and his private life to examine what happens when football leaves little room for anything else.

## Review

Asif Kapadia’s *Diego Maradona* is worth seeing for the football and for the unnerving closeness of its archive footage. We can watch the skill, understand why the attention gathers and sense how tiring it must be to remain its centre. The difficulty comes when the film wants to explain decisions made away from the pitch. Its sympathy is persuasive, but we finish with questions about its subject that a documentary of this length has had time to address.

Editor Chris King gives the match footage urgency without reducing it to a hurried demonstration of greatness. The cutting allows us to appreciate why this player commands attention, rather than simply accepting that he does because a documentary has been made about him. That matters before the film asks us to worry about the demands that follow success. Amid the commotion around SSC Napoli, the skill remains clear enough to justify watching for the football alone.

The quieter footage is where the film does its more affecting work. We were moved by the silent Christmas-party sequence, in which Diego Maradona looks painfully alone. Asif Kapadia gives that face enough attention for the excitement surrounding the football to recede, and the man’s unhappiness becomes difficult to overlook. It is an intimate moment, and it provides firmer grounds for sympathy than another account of how hard it is to be famous.

Antonio Pinto’s music is less useful when it underlines feelings already evident in the images. The score is not a serious obstacle, but we seldom need prompting to recognise the strain on a face. Asif Kapadia’s reliance on archive footage keeps us close to his subject, with few opportunities to settle into the comfortable distance of hindsight. The pictures sustain interest through some passages that would otherwise feel familiar.

The problem is how readily public pressure becomes an explanation for conduct off the pitch. Asif Kapadia is attentive to the demands placed on his subject, but we wanted more scrutiny of the choices that remain his own. Sympathy need not prevent difficult questions, and the film sometimes settles for making us feel the strain when it should be asking them. We are shown enough contradiction to resist a simple account of a gifted man damaged by fame, yet the documentary keeps nudging us towards one.

At 130 minutes, it also gives that explanation more time than it needs. Chris King’s energetic editing works within the individual passages, but the larger progression can feel repetitive: more attention, more pressure, another suggestion that nobody could bear it. By then, the accumulation is adding less to our understanding than the early footage promised. A shorter film would not necessarily answer the missing questions, but it might make the limits of what these images can tell us feel less frustrating.

The standard for a sporting portrait cannot be that it makes its subject entirely knowable. There is value in leaving us with an awkward look or an unanswered question, particularly when the available images resist a simple explanation. We would have welcomed more of that uncertainty here, instead of repeated reminders of the burden of celebrity. Football fans should make time for it, but should not expect every private choice to become clear.

*Fi1m score 76, published 3 October 2026.*

## What the critics say

Most critics respond warmly to Diego Maradona, with praise concentrated on its archival footage and the editing that shapes it into an absorbing account of sporting brilliance, fame and decline. The reviews repeatedly single out the intimacy of the material, especially quiet glimpses of loneliness away from the pitch. For many, those moments give the documentary emotional force, while the football footage makes Maradona’s talent and the pressures surrounding him vivid.

The spread is wide, however, and even several favourable reviews find that Maradona’s inner life remains underexplored. Reservations centre on length, limited new revelations and insufficient attention to political context and personal responsibility. Variety admires the archive’s immediacy but finds the film sprawling and insufficiently revealing; Little White Lies goes further on responsibility, arguing that it oversimplifies Maradona by presenting him as corrupted by others. The disagreement is chiefly over how much the footage explains, rather than how compelling it is.

## Straight answers

**Is Diego Maradona worth watching?**

*Diego Maradona* is worth watching for football fans and viewers drawn to intimate sporting portraits; we score it 76 out of 100. The match footage has urgency and the quieter archive reveals painful loneliness, but the 130-minute film grows repetitive and is less searching about his private choices than we would like.

**How long is Diego Maradona, and what is it rated?**

*Diego Maradona* runs 2h 10m. It is a documentary film.

**Where can I watch Diego Maradona in Austria?**

*Diego Maradona* is available to rent from Apple TV and Amazon Prime Video from €3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Diego Maradona, and is it suitable for children?**

*Diego Maradona* has a UK 12A certificate, meaning children under 12 need an accompanying adult at the cinema. We find its intimate view of loneliness and relentless public attention unnerving rather than describe it as a frightening film; the certificate alone does not establish specific violence or other content, so we would not give blanket reassurance for younger children.

**How does Diego Maradona compare to Senna?**

*Diego Maradona* shares [*Senna*](https://film.one/film/senna)’s archive-led approach to sporting fame, but we find *Senna* the more gripping choice, even for viewers uninterested in its sport. Both favour sympathy over fully searching biography; *Diego Maradona* earns its place through clear, urgent football footage and intimate glimpses of loneliness, though its repetition makes it a more qualified recommendation.

**What should I watch after Diego Maradona?**

After *Diego Maradona*, try [*Senna*](https://film.one/film/senna) (2010, Fi1m 84): Another archive-led sporting portrait, with pressure made palpable through faces and footage. Then [*Hoop Dreams*](https://film.one/film/hoop-dreams) (1994, Fi1m 92): Basketball ambition meets family obligations, with room for lives beyond the court; and [*When We Were Kings*](https://film.one/film/when-we-were-kings) (1996, Fi1m 83): Boxing, celebrity and public performance, with the spectacle allowed its full force.

### Reviews we read (19)

- **IndieWire**, Eric Kohn (A-): Kohn praises the film as a gripping, absorbing account of Maradona’s rise and fall, though its pace can overwhelm and some details are shortchanged. He singles out the hypnotic archival footage, especially a silent moment that captures Maradona’s sadness. [Read](https://www.indiewire.com/features/general/diego-maradona-review-asif-kapadia-cannes-2019-1202140734/)
- **Los Angeles Times**, Robert Abele (85/100, inferred): Abele finds the documentary bracing and well-controlled, despite its slightly overlong running time. He particularly praises its hypnotic use of archival footage and the haunting portrait of Maradona’s isolation. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-09-19/diego-maradona-review-documentary-soccer)
- **The New Yorker**, Daniel Alarcón (85/100, inferred): Alarcón finds the documentary a remarkable, harrowing portrait of genius, fame, and decline. He especially praises its intimate moments, which reveal Maradona’s loneliness beyond the spectacle of his athletic talent. [Read](https://www.newyorker.com/culture/culture-desk/the-tragedy-of-diego-maradona-one-of-soccers-greatest-stars)
- **Evening Standard**, David Sexton (4/5): Sexton finds the documentary masterful in its construction, though Maradona himself remains opaque. He praises Kapadia’s painstaking use of original footage and singles out a silent, lonely Christmas-party sequence as especially telling. [Read](https://www.standard.co.uk/culture/film/cannes-2019-diego-maradona-review-a-story-of-stardom-in-which-the-man-himself-remains-opaque-a4146521.html)
- **Sight and Sound**, BFI (80/100, inferred): The critic finds the documentary fascinating and essential viewing for football fans, though somewhat short on genuinely surprising revelations. They praise its vast archive, energetic editing and intimate access to Maradona, which bring his pressures and contradictions to life. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/diego-maradona-asif-kapadia-archive-documentary-star-view)
- **Time Out**, Phil de Semlyen (4/5): The critic finds the documentary mesmeric and insightful, calling it a work of real class. They praise its raw portrait of Maradona’s life off the pitch alongside his soccer skills. [Read](https://www.timeout.com/movies/diego-maradona)
- **Empire**, Terri White (70/100, inferred): The review finds the documentary impressive and tragic, though it never fully reveals Maradona as a person. It praises Kapadia’s precise, intelligent editing while faulting the film for leaving its subject’s inner life underexplored. [Read](https://www.empireonline.com/movies/reviews/diego-maradona-review/)
- **Screen Daily**, Fionnuala Halligan (70/100, inferred): The standfirst gives a positive box-office outlook for Kapadia’s documentary. It singles out the film’s potential to extend Maradona’s “hand of God” appeal to audiences. [Read](https://www.screendaily.com/reviews/diego-maradona-cannes-review/5139674.article)
- **The Guardian**, Peter Bradshaw (70/100, inferred): Bradshaw finds the documentary gripping, capturing the euphoria and catastrophe of Maradona’s career. He praises the compelling archival footage but faults the film for lacking new material and political context. [Read](https://www.theguardian.com/film/2019/may/20/diego-maradona-review-asif-kapadia-documentary-cannes-film-festival)
- **The New York Times** (64/100, inferred): The page capture does not expose the critic’s verdict. It also provides no basis for identifying what the critic praised or criticized. [Read](https://www.nytimes.com/2019/09/19/movies/diego-maradona-review.html)
- **Little White Lies**, Adam Woodward (3/3/3): The review finds the documentary entertaining but ultimately oversimplified and unpersuasive. It faults the film for lightly scrutinising Maradona’s choices off the pitch and portraying him as corrupted by others. [Read](https://lwlies.com/reviews/diego-maradona)
- **Radio Times**, Stephen Carty (3/5): The review regards the film as a celebration of Maradona’s extraordinary footballing talent that also confronts his scandals. It praises the archive-based approach for showing both his triumphs and controversies without excusing his behaviour. [Read](https://www.radiotimes.com/movie-guide/b-g739l4/diego-maradona/)
- **Variety**, Owen Gleiberman (40/100, inferred): Gleiberman finds the documentary engrossing but sprawling, and less revealing than Kapadia’s stronger work. He praises the immediacy of its archival footage while faulting it for leaving Maradona’s inner life and key questions insufficiently explored. [Read](https://variety.com/2019/film/reviews/diego-maradona-review-cannes-film-festival-1203219438/)
- **The Hollywood Reporter**, Stephen Dalton (35/100, inferred): Dalton finds the documentary solidly made but weaker and more cautious than Kapadia’s earlier films. He praises the energetic archival footage, while faulting the film for skimming over Maradona’s personal and political complexities. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/diego-maradona-review-1212086/)
- **NME** (★★★★): The critic calls the documentary absorbing and entertaining, though it never fully reveals Maradona as a person. They praise Kapadia’s well-constructed use of archival footage to chart his rise and fall. [Read](https://www.nme.com/reviews/diego-maradona-film-review-2490305)
- **The Skinny**, Caitlin Quinlan (★★★★): Quinlan finds the documentary interrogative and sharp, though she feels it could explore some of Maradona’s troubles in greater depth. She praises the footage of Napoli’s footballing chaos and the captivating beauty of Maradona’s skill. [Read](https://www.theskinny.co.uk/film/new-releases/diego-maradona)
- **Film Stories**, Hannah Turner (75/100, inferred): Turner finds the documentary engaging and strongly recommends it, while noting it is less emotionally devastating than Kapadia’s earlier films. She praises its intimate archival footage and complex portrayal of Maradona’s rise and decline. [Read](https://filmstories.co.uk/reviews/diego-maradona-review/)
- **The Playlist** (64/100, inferred): The page is blocked by anti-crawler protection, so the critic’s verdict cannot be determined. No praise or complaint from the review is visible. [Read](https://theplaylist.net/diego-maradona-cannes-review-20190520/)
- **HeyUGuys** (35/100, inferred): The critic finds the documentary competent but overlong and ultimately forgettable. Fresh interviews and its exploration of Maradona’s ties to the Neapolitan mafia provide some of its most original material. [Read](https://www.heyuguys.com/maradona-review/)

## Details

- **Director:** Asif Kapadia
- **Director:** Asif Kapadia
- **Editor:** Chris King
- **Music:** Antonio Pinto
- **Producer:** Paul Martin, James Gay-Rees
- **Cast:** Diego Maradona as Self (voice); Pelé as Self (archive footage); Dalma Maradona as Self, Maradona daughter (archive footage); Daniel Arcucci as Self, sport journalist (archive footage); Alberto Bigon as Self, SSC Napoli Former Coach (voice); Gonzalo Bonadeo as Self, sport journalist (voice); Corrado Ferlaino as Self, SSC Napoli Former President (archive footage); Ciro Ferrara as Self, SSC Napoli Former Player (voice)
- **Runtime:** 2h 10m
- **Release (Austria):** 5 September 2019
- **Genres:** Documentary
- **Trailer:** https://www.youtube.com/watch?v=Pmm7r4ynyIQ

## Where to watch in Austria

- Apple TV: rent €3.99, hd
- Amazon Prime Video: rent €3.99, hd
- Amazon Prime Video: buy €3.99, hd
- Apple TV: buy €7.99, hd

*Checked 2026-10-03.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, IE, IT, JP, KR, MX, NL, NO, NZ, PA, PE, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Senna* (2010), Fi1m 84: Another archive-led sporting portrait, with pressure made palpable through faces and footage. — [Fi1m page](https://film.one/film/senna.md)
- *Hoop Dreams* (1994), Fi1m 92: Basketball ambition meets family obligations, with room for lives beyond the court. — [Fi1m page](https://film.one/film/hoop-dreams.md)
- *This Sporting Life* (1963): Abrasive sporting success and private unhappiness, given a harder fictional examination.
- *The Second Game* (2014): A football match becomes a patient conversation about family, memory and politics.
- *When We Were Kings* (1996), Fi1m 83: Boxing, celebrity and public performance, with the spectacle allowed its full force. — [Fi1m page](https://film.one/film/when-we-were-kings.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/diego-maradona