---
title: "Ferrari"
year: 2023
kind: "film"
canonical: "https://film.one/film/ferrari"
fi1m_id: "ferrari"
imdb_id: "tt3758542"
tmdb_id: 365620
wikidata_id: "Q113043714"
fi1m_score: 70
critics_score: 65
critics_reviews: 18
published: "2026-09-10"
updated: "2026-09-18T08:38:03.627299+00:00"
region: "US"
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."
---

# Ferrari (2023)

Directed by Michael Mann · 2h 11m · MPA R · History, Drama

## Identity

Ferrari

- **Canonical:** https://film.one/film/ferrari
- **Type:** Film
- **Fi1m ID:** ferrari
- **IMDb ID:** tt3758542
- **TMDB ID:** 365620
- **Wikidata ID:** Q113043714
- **Same entity:** https://www.imdb.com/title/tt3758542/, https://www.themoviedb.org/movie/365620, https://www.wikidata.org/wiki/Q113043714

**Fi1m score: 70** · Critics 65 from 18 reviews

*In a sentence:* Penélope Cruz shoots at her husband first thing in the morning and we were on her side

> Michael Mann’s portrait of Enzo Ferrari in the summer of 1957 is stiff and talky in the house and thrilling on the road. Penélope Cruz and the Mille Miglia are the reasons to see it; the rest is handsome and slightly airless.

## Synopsis

Modena, 1957. Enzo Ferrari (Adam Driver) builds racing cars for a few dozen rich men and sells too few of them to keep his factory open. His wife Laura (Penélope Cruz) owns half the company and is still in mourning for their son, who died the year before. Across town, Lina Lardi (Shailene Woodley) is raising Enzo’s other son, Piero Lardi (Giuseppe Festinese), and Laura does not know the boy exists. With the bankers circling, Enzo stakes the firm on the Mille Miglia, a thousand-mile race over public roads, and on a team that includes Alfonso de Portago (Gabriel Leone), Peter Collins (Jack O’Connell) and Piero Taruffi (Patrick Dempsey). Michael Mann directs.

## Review

Michael Mann has taken three months of a life rather than the whole of it. It is 1957 and Enzo Ferrari builds racing cars in Modena for a few dozen rich men, which is not enough cars to keep the factory open. His wife Laura owns half the company and has not forgiven him for the death of their son the year before. Across town he keeps a second household, Lina Lardi and their boy Piero, and Laura does not know. The Mille Miglia, a thousand miles of open road out of Brescia and back, is coming round, and Enzo decides that a win will bring a buyer and a loss will finish him.

The road is where the film is sure of itself. Erik Messerschmidt shoots the race so that stone walls and hedges and the fronts of churches come at us faster than seems safe, and the drivers are seen through goggles and grit rather than in tidy close-up. Pietro Scalia cuts it so that we can follow each car through each corner. Daniel Pemberton’s score largely gives way to the engines while the racing is on. We always know which car is which, which is rarer than it should be.

Penélope Cruz is the other reason to stay. Her Laura goes about Modena in black and keeps a pistol in her handbag, and the film is on her side from the start. She plays grief as fury, snapping at bankers and priests and Enzo, and then, alone at the boy’s grave, as something much quieter. Every scene she is in has a pulse. The scenes she is not in are polite.

Adam Driver plays Enzo behind dark glasses and a grey suit, hair whitened, voice pitched somewhere between Emilia and New York. He has decided that the man showed nothing, and he shows nothing. Most critics have called the performance muted, and it is; we think muted is the choice rather than the failure, since the film is about a man who has decided grief is a private matter and racing is not. But a choice can still be tiring to sit with, and there are stretches when we wanted him to do anything at all.

The middle hour is the trouble. Troy Kennedy Martin, who wrote *The Italian Job* (1969), has written a script in which men in wood-panelled offices explain Fiat, Maserati and the balance sheet to each other, and Gianni Agnelli (Tommaso Basili) turns up to be rich and unhelpful. Shailene Woodley, as Lina, is given a kitchen, a son and a single expression of patient hurt, and no way out of any of them. The drivers are sketched in a line each: Alfonso de Portago (Gabriel Leone) has a jawline and a film-star girlfriend in Linda Christian (Sarah Gadon), Peter Collins (Jack O’Connell) has a grin and Piero Taruffi (Patrick Dempsey) has silver hair. We were restless, and at one point we caught ourselves admiring Maria Djurkovic’s rooms instead of listening to what was being said in them.

Then the Mille Miglia arrives and something happens on the road that we will not describe. Mann shoots it flat: no music, no slow motion, a single wide shot he holds a beat longer than is comfortable. We were horrified, and the horror stayed with us on the way home, because it is the moment the film finally says out loud what Enzo has been saying quietly all along, which is that this is what the cars cost and he has known it for years. Nothing in the house scenes lands that hard. Perhaps nothing could.

Against Mann’s own record this sits nearer [*The Insider*](https://film.one/film/the-insider) (1999) than [*Heat*](https://film.one/film/heat) (1995): a man at the top of his trade, a wife he lies to, a lot of talk in rooms. Those films moved. This one mostly watches, and watching a man refuse to feel is a long evening even when it is done this well. Massimo Cantini Parrini dresses everyone beautifully while we wait.

See it in the largest room you can find, with the sound turned up, for the road and for Cruz. At home the race still works and the house scenes feel longer. It runs 131 minutes and carries a 15 certificate, and the certificate is earned in about forty seconds.

*Fi1m score 70, published 10 September 2026.*

## What the critics say

Most critics agree on where Ferrari works. The racing sequences, and the Mille Miglia in particular, draw praise across almost every review, positive and negative alike, for their sound design and their sense of real danger. Penélope Cruz is the other point of agreement, singled out repeatedly as Laura Ferrari and often named as the strongest thing in the film.

The reservations cluster around everything off the track. A large minority finds the domestic and business scenes slow and talky, and several reviews describe Adam Driver as muted or bloodless, though others, Vulture among them, call his performance vivid. The spread is wide: Variety and the Los Angeles Times treat it as a serious, classically built drama, while the Evening Standard and Deadline find it stalls under the weight of repeated marital argument. The consensus is a handsome film that comes alive in the cockpit and struggles in the house.

## Straight answers

**Is Ferrari worth watching?**

*Ferrari* is worth watching for the Mille Miglia and for Penélope Cruz, and we scored it 70. Michael Mann's portrait of Enzo Ferrari in 1957 is thrilling on the road and stiff and talky in the house, so it suits patient viewers who like their history handsome and slow. See it in a large room with the sound up if you can.

**How long is Ferrari, and what is it rated?**

*Ferrari* runs 2h 11m and is rated R by the MPA in the US. It is a history and drama film.

**Where can I watch Ferrari in the US?**

*Ferrari* is streaming on Netflix in the US, and it is also 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 Ferrari, and is it suitable for children?**

*Ferrari* carries a 15 certificate in the UK and an R in the US, and it is not for children. Most of it is grief, adultery and men arguing about money in offices, but the race contains one moment of violence, shot flat and held longer than is comfortable, that horrified us and earns the certificate on its own. The squeamish should know it is coming.

**How does Ferrari compare to Rush?**

*Ferrari* is the graver and more withheld of the two, while [*Rush*](https://film.one/film/rush) is the one that enjoys itself. Ron Howard's Hunt and Lauda film has the same sense of danger but a livelier pulse, with Chris Hemsworth and Daniel Brühl making the rivalry matter even when the script simplifies the men. Mann's film has the better racing and Penélope Cruz; Howard's is the easier evening.

**What should I watch after Ferrari?**

After *Ferrari*, try [*Rush*](https://film.one/film/rush) (2013, Fi1m 82): Ron Howard’s Hunt and Lauda film; the same danger, far more willing to enjoy itself. Then [*Heat*](https://film.one/film/heat) (1995, Fi1m 91): Mann’s best film about men who let the job eat everything else; and [*Ford v Ferrari*](https://film.one/film/ford-v-ferrari) (2019, Fi1m 80): The Americans’ side of the argument, louder and happier and with a proper ending.

### Reviews we read (25)

- **Variety**, Owen Gleiberman (Critics Pick): Mann turns a pivotal three-month period in Enzo Ferrari’s life into a gripping, masterful drama with the intensity and layered fascination of a 1970s film. The review singles out the thrilling yet harrowing staging of the Mille Miglia race and the authentic intertwining of business, family, and personal crises. [Read](https://variety.com/2023/film/reviews/ferrari-review-adam-driver-penelope-cruz-michael-mann-venice-film-festival-1235708271/)
- **Los Angeles Times**, Justin Chang (80/100, inferred): Mann delivers a somber, classically scaled epic focused on grief, betrayal, and the high stakes of racing and family. The film excels in its portrayal of Enzo Ferrari’s compartmentalized life and the volcanic performances of its leads. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-12-22/ferrari-review-michael-mann-adam-driver-penelope-cruz)
- **Radio Times**, James Mottram (4/5): The critic highlights the visceral thrills of the racing sequences and sound design alongside the central relationship drama, viewing the film as a compelling portrait of Enzo Ferrari at a personal and professional breaking point. [Read](https://www.radiotimes.com/movies/ferrari-review-michael-mann/)
- **The i Paper**, Christina Newland (80/100, inferred): Mann's portrait of the egotistical pioneer takes a smart, fascinating approach to a complex life story haunted by grief as much as glamour. The racing sequences deliver heart-in-throat thrills and the aesthetics are faultless, though the personal life writing has some issues. [Read](https://inews.co.uk/culture/film/ferrari-review-adam-driver-biopic-2816167)
- **The Telegraph**, Robbie Collin (4/5): The review praises the electrifying, realistic driving and race scenes as the film’s highlight and a triumphant return for Mann, while noting the domestic and business scenes feel somewhat jumbled. Adam Driver and Penélope Cruz deliver strong performances amid the personal drama. [Read](https://www.telegraph.co.uk/films/0/ferrari-review-michael-mann-adam-driver/)
- **Time Out**, Elizabeth Weitzman (3/5): The review praises the kinetic car scenes and Penelope Cruz's performance but criticizes the film's lack of heat, dull protagonist, and failure to ignite after strong opening visuals. [Read](https://www.timeout.com/movies/ferrari-2023)
- **Total Film** (60/100, inferred): Mann’s stately biopic is well-oiled with clean lines, strong performances and classily rendered production values, but feels unessential and lacks a certain something under the hood to really make it fly. The personal demons are handled more refined than the racing elements. [Read](https://www.gamesradar.com/ferrari-review-2023/)
- **Empire**, Iana Murray (50/100, inferred): The biopic is surprisingly staid and gets bogged down in dull relationship drama that screeches to a halt. The racing sequences are thrillingly visceral and place viewers right in the cockpit, but there is not enough of the exhilarating stuff. [Read](https://www.empireonline.com/movies/reviews/ferrari/)
- **The Guardian** (50/100, inferred): The critic finds the biopic handsome but bogged down by slow, talky storytelling about business and family matters, with a muted and bloodless performance from Adam Driver. Penélope Cruz stands out as Ferrari’s strident, furious wife. [Read](https://www.theguardian.com/film/2023/dec/23/ferrari-review-michael-mann-penelope-cruz-adam-driver-fast-cars-slow-storytelling)
- **The Independent**, Mark Kennedy (2/4): The biopic is a solid vehicle but ultimately unmoved and fails to ignite despite strong performances and slick visuals. It gets bogged down in domestic drama and loses emotional investment in its characters and story. [Read](https://www.independent.co.uk/news/ferrari-ap-adam-driver-michael-mann-shailene-woodley-b2466165.html)
- **Evening Standard**, Jo-Ann Titmarsh (30/100, inferred): Mann's passion project stalls and splutters, with too much repetitive focus on the unhappy marital situation and not enough on the cars or races. Driver is muted and the supporting cast is underused, making it far from a winner despite gorgeous locations. [Read](https://www.standard.co.uk/culture/film/ferrari-venice-film-festival-review-adam-driver-michael-mann-b1104051.html)
- **Financial Times**, Danny Leigh (★★★★☆): The review highlights Mann’s focus on what drove Enzo Ferrari, blending racing, money, and personal loss, with death portrayed as arbitrary and final. Penélope Cruz delivers a brilliant performance mapping emotional scar tissue. [Read](https://www.ft.com/content/28a70457-4d8e-453e-8245-82c207dbd5dc)
- **Screen Daily**: The review notes the film's surprising emphasis on domestic soap opera over racing action in this refined period piece, praising the production values and Mille Miglia set-piece while suggesting it may not appeal widely. [Read](https://www.screendaily.com/reviews/ferrari-venice-review/5185440.article)
- **Sight and Sound**, John Bleasdale: The critic finds the film strongest during the racing scenes but criticizes the excessive focus on family melodrama over the track action, noting miscasting and unconvincing elements in the domestic plot. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/ferrari-michael-manns-family-melodrama-spends-too-little-time-track)
- **The Hollywood Reporter**, David Rooney: The film focuses on a pivotal 1957 period in Enzo Ferrari's life, balancing personal crises with high-stakes racing. It delivers thrilling race sequences and strong performances from Driver and Cruz, though some domestic scenes and accents fall short. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/ferrari-review-adam-driver-penelope-cruz-michael-mann-1235578881/)
- **The New York Times**, Manohla Dargis (NYT Critic’s Pick): The film roars to life during its racing sequences but portrays domestic life as a source of torment. The director captures the obsessions of Enzo Ferrari through striking period detail and strong performances. [Read](https://www.nytimes.com/2023/12/24/movies/ferrari-review-michael-mann.html)
- **The Times**, Kevin Maher (★★☆☆☆): The critic calls the film handsomely made but ultimately empty, with Driver’s performance lacking depth beyond parental grief and the narrative treading water until the final race. The race scenes are powerful but come too late to save the drama. [Read](https://www.thetimes.com/culture/film/article/ferrari-review-adam-driver-runs-out-of-fuel-in-a-flashy-biopic-8d09dbbkw)
- **Vulture**, Bilge Ebiri: Mann's film captures Enzo Ferrari as a complex, evasive figure juggling family and business crises amid tragedy. It stands out for Adam Driver's vivid performance and its blend of elegant restraint with visceral racing horror. [Read](https://www.vulture.com/article/michael-mann-ferrari-movie-review.html)
- **Collider**, Ross Bonaime (8/10): The critic sees Ferrari as transcending a standard biopic with its introspective look at Enzo Ferrari's grief-stricken life and passions, calling it Mann's best work since Collateral. They single out Penélope Cruz's powerhouse performance as Laura Ferrari for commanding every scene. [Read](https://collider.com/ferrari-movie-review/)
- **Eye for Film**, Jennie Kermode (80/100, inferred): The film is uneven and slow to build but a triumphant return to form for Mann, with the car racing scenes the best in cinema history. Patience is rewarded for fans, and it is a treat especially for those who love fast cars or the stars. [Read](https://www.eyeforfilm.co.uk/review/ferrari-2023-film-review-by-jennie-kermode)
- **/Film**, Audrey Fox (8/10): Mann captures the high drama of racing alongside personal struggles, with strong performances from Driver and especially Cruz as the scorned wife. The film blends emotional depth and action effectively despite some disconnects between storylines. [Read](https://www.slashfilm.com/1421324/ferrari-review/)
- **The Ringer**, Adam Nayman (75/100, inferred): The critic describes Ferrari as a granular study of a larger-than-life but damaged man armored against grief and personal contradictions, with Mann focusing on microscopic details and the deadly stakes of racing. They highlight strong performances by Adam Driver and Penélope Cruz alongside the film's visceral, death-tinged racing sequences. [Read](https://www.theringer.com/2023/10/17/movies/ferrari-movie-review-adam-driver-michael-mann)
- **HeyUGuys**, Chris Connor (3/5): A solid, enjoyable study of Enzo Ferrari at a low point in his business and personal life, with strong work from Driver and Cruz but underdeveloped supporting characters. It is watchable and entertaining though not among Mann's best. [Read](https://www.heyuguys.com/ferrari-review/)
- **The Wrap**, Ben Croll (60/100, inferred): Mann's return excels in its thrilling, technically masterful racing sequences and sound design, especially the climactic Mille Miglia, but the narrative often sputters due to a creaky, expositional script. It notes the shift to a more classical style and the monomaniacal focus on Enzo's obsession. [Read](https://www.thewrap.com/ferrari-review-michael-mann-adam-driver-penelope-cruz/)
- **Deadline**, Damon Wise (30/100, inferred): The film offers a tame, introspective portrait of Enzo Ferrari during a difficult period, hampered by an unemotional lead performance from Adam Driver and a slow narrative pace. It praises Penélope Cruz's late emotional scene but concludes the overall effort falls short in the pantheon of racing films. [Read](https://deadline.com/2023/08/ferrari-review-michael-mann-intimate-portrait-of-a-motoring-legend-adam-driver-penelope-cruz-1235532853/)

## Details

- **Director:** Michael Mann
- **Director:** Michael Mann
- **Writer:** Troy Kennedy Martin
- **Cinematography:** Erik Messerschmidt
- **Editor:** Pietro Scalia
- **Music:** Daniel Pemberton
- **Production design:** Maria Djurkovic
- **Costume design:** Massimo Cantini Parrini
- **Producer:** P.J. van Sandwijk, Monika Bacardi, Thomas Hayslip
- **Cast:** Adam Driver as Enzo Ferrari; Penélope Cruz as Laura Ferrari; Shailene Woodley as Lina Lardi; Gabriel Leone as Alfonso de Portago; Sarah Gadon as Linda Christian; Jack O'Connell as Peter Collins; Patrick Dempsey as Piero Taruffi; Giuseppe Festinese as Piero Lardi
- **Runtime:** 2h 11m
- **Certificate (MPA):** R
- **Release (the US):** 25 December 2023
- **Genres:** History, Drama
- **Budget:** $95 million
- **Box office:** $39 million
- **Trailer:** https://www.youtube.com/watch?v=8oOVNMjM1Jk

## Where to watch in the US

- Netflix: streaming
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $12.99, uhd
- Apple TV: buy $12.99, hd

*Checked 2026-09-10.*

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

## If you liked this

- *Rush* (2013), Fi1m 82: Ron Howard’s Hunt and Lauda film; the same danger, far more willing to enjoy itself — [Fi1m page](https://film.one/film/rush.md)
- *Le Mans* (1971): Steve McQueen barely speaks and the cars do all the acting; Mann clearly watched it
- *Il Sorpasso* (1962): Dino Risi’s road comedy: the same Italian roads, driven by a man who should not be
- *Heat* (1995), Fi1m 91: Mann’s best film about men who let the job eat everything else — [Fi1m page](https://film.one/film/heat.md)
- *Ford v Ferrari* (2019), Fi1m 80: The Americans’ side of the argument, louder and happier and with a proper ending — [Fi1m page](https://film.one/film/ford-v-ferrari.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/ferrari