A documentary humanizes the referee of the most popular sport worldwide
By Olivia Spraul
“Das Spiel (The Game)” is a 16-minute documentary that follows FIFA referee Fidayi San throughout a major league soccer match. The unusual focus on the referee rather than the match is meant to humanize the polarizing officials at the center of “the beautiful game.” The film follows San through the pregame, the match, and his ride home with his father, highlighting his personal and professional facets. The viewers witness contentious calls, moments of doubt, and a formidable block of fans that is a force to be reckoned with.
One striking feature of the film is its use of sound. Director Roman Hodel showcases the sounds of a crowded stadium and overlapping conversations, punctuating them with moments of silence that highlight the pressure and isolation faced by the officials. Noise is also utilized to alternate between the internal and external perspectives of various people within the stadium.
Internal and External Quiet
Silence plays an integral role in bringing the audience into the referee’s position. The short plays with two kinds of quiet: quiet due to external circumstances, and quiet within someone’s mind. This internal quiet is a representation of forced calmness. San’s psychological state does not match what he actually hears, as the sound still exists, but he must outwardly represent control and neutrality.
The short opens with a moment of external silence, with San in the locker room, waiting for the game to begin. Noise from the stadium is heard in the background: hinting at the ruckus to come. However, when compared to the raucous crowd noises, the quiet of San and his fellow referees is like the calm before a storm. This dichotomy highlights the physical separation between the referees and the fans.
The viewer experiences internal quiet when the game begins. We follow San diligently following the ball, listening in on his radio as he communicates a constant stream of observations regarding the match. With focus on San, the noise of the crowd is muffled. Hodel uses this technique to show that a referee must ignore outside noises and pressures when the match clock is running. Just as the director chooses what is heard and seen, referees must be selective of what they focus on so as to avoid social pressures. According to a study done on Spanish soccer referees, “the phenomenon of social pressure is most clearly evident in the extent to which the preferences of …the crowd at a soccer match, can influence the referee’s behaviour and decisions.” To avoid influence, separation must exist. However, this can cause fans to view referees as distant, all-powerful, or soulless figures, rather than as regular human beings.
The sound works jointly with the camera: the referee is the narrative focal point and the subjective point of audition. At 08:10, just after San makes a controversial call, we only hear his breathing. Amid a wide shot of the stands, teeming with thousands of fans, San is alone. He must face the unyielding mass without a sign of uncertainty and separate himself, so that his decisions are less affected by social pressures. His isolation promotes impartiality.
These so-called “internal moments” are not only San’s. Other staff, the officiating crew, and even his father, who watches from the stands, are highlighted. The viewer experiences multiple perspectives of the game, marked by changes in sound, but is not “all-knowing.” Viewers focus on people’s faces and their words, but not on the crowd around them. We see them experiencing the match, but do not see what they are seeing. This emphasizes that referees are not the only ones who feel game-time pressure.
The Power of Words
As noted above, San is vocalizing constantly on the pitch. He narrates the events on the field and calls out actions of the players. While seemingly jumbled and insignificant, every word has a distinct purpose. When he calls out a player for his attitude, San is establishing authority (11:15). When he analyzes a controversial play, he is creating data to justify his choices and to inform the rest of the officiating team (4:15). Others in the stadium have the choice of saying things off-hand, but San has no such luxury. His every word can be heard by his crew and can alter the course of the match. The fans in the crowd speak more than San, yet their words are given no focus. This implies that, although they say more, what they say possesses less impact. The crowd is a loud voice, but only the referee’s matters. On the field, San must have conviction and show no indecision, even if that does not represent his internal state.
The end of the film is quiet. The stands are empty, the lights are off, and San is driving home with his father, having an ordinary conversation. This ending reminds viewers that, although tensions run high during a match, it is still a game. For San, this is just a job, no matter the stakes. His father’s simple “It was a good match,” makes every previous moment seem less important. This humanizes San and makes him more relatable.
For most referees, it is often not until something goes wrong that their presence is noted. In these moments, they become controversial figures, easy targets for ire. This documentary reminds viewers that the referees they vilify are simply people who sometimes make mistakes, feel pressure, and question themselves. Hodel humanizes the referee and puts a new lens on their decisions, emphasizing that, at the end of the day, the referees are simply doing a job. “Das Spiel” serves as a window into the intense world of a FIFA referee: the oppressive noise, the isolating silence, and the immense pressure placed upon just a few words.