Le Week-End: Ongoing saga

This picture downgrades its ambitions along the way. When Nick says he wants to take his and Meg's lovemaking into another dimension, it sounds like an unpromising episode of The Twilight Zone.

Every generation deserves its own escapist entertainment, soft on the eyes and the soul but of minimal nutritional value. So the arrival of Le Week-End, a bit of throwaway fluff aimed at the over-sixties, is to be welcomed. Early on, this story of a couple who return to Paris many decades after their honeymoon there seems to be shaping up as a senior citizens’ spin on the Before series, most obviously the second instalment, in which Ethan Hawke and Julie Delpy walk and talk and bicker up and down the Seine. Lindsay Duncan, who plays Meg in Le Week-End, even possesses the tart and twitchy beauty of an older Delpy. Could this be not so much Before Sunset as After Saga?

Sadly not. The picture downgrades its ambitions along the way: it’s a doodle, though not without fizz or merit. It marks the fourth collaboration between the director Roger Michell and the screenwriter Hanif Kureishi. Though their working relationship began 20 years ago when Michell directed the BBC adaptation of The Buddha of Suburbia, their subsequent films together have revolved around the subject of age. In The Mother, a widow in her sixties has a passionate affair with a builder 30-odd years her junior, and in Venus the intergenerational relationship between a young woman and an elderly actor is chirpy but chaste.

Sex in Le Week-End is less a going concern than a running joke. Nick (Jim Broadbent) tells Meg: “Over these past five to ten years, your vagina has become something of a closed book.” She would prefer to see the Eiffel Tower than his “partially erect sausage”. When he says he wants to take their lovemaking into another dimension, it sounds like an unpromising episode of The Twilight Zone.

His wish is sincere. He suggests that they pretend to be other people and Meg laughs, though of course that is precisely why they have come to Paris: to escape themselves, or to re-establish contact with the people they once were. Meg’s prognosis for their marriage is bleak. When Nick claims that “people don’t change”, she replies acidly: “They do. They can get worse.” Nick describes himself as “an anarchist of the left” but also mourns his own mediocrity. He has recently been sacked from his university teaching job for making inappropriate remarks about the hairstyle and economic prospects of a young black student. The sort of misjudgement that has cataclysmic consequences in David Mamet’s Oleanna or Philip Roth’s The Human Stain is consigned here to the realm of “noises off”. The real drama lies in what happens, or doesn’t happen, between Meg and Nick. A discussion about breaking up is interrupted by chit-chat about new tiling ideas for the bathroom; bursts of spite or rage give way in an instant to fondness as the conversational see-saw rises and falls.

None of this is overly compelling. The handsome locations yoo-hoo on cue. Kureishi’s dialogue sounds as epigrammatic as ever: this is manifestly a screenplay that sits more comfortably on the page than on the tongue. But any stiltedness is largely offset by Nathalie Durand’s light, loose camerawork and some lived-in performances. From the latter compliment we must exempt Jeff Goldblum, who is indulged horribly as one of Nick’s old Oxford chums. Perhaps he had it written into his contract that he would be allowed to hijack the part rather than just play it. Either way, the film screeches to a halt whenever he lapses into his extraterrestrial lounge-lizard shtick.

To any criticism levelled against Le Week-End, there is always a built-in riposte in the form of Lindsay Duncan. It remains one of the enduring disgraces of British cinema that she has been so overlooked and underemployed by the medium. She has amassed only a small finger buffet of film work, including her 1983 screen debut in a joyful screwball double act with Stephen Rea in Loose Connections and a cameo turn helping to decipher Joe Orton’s shorthand diaries in Prick Up Your Ears. In Le Week-End she transforms fleeting reaction shots into miniature arias of sighing sadness, then joyfully re-creates the dance scene from Godard’s Bande à part a moment later. “You’re hot,” Nick tells Meg. “Hot but cold.” Duncan conveys both extremes without losing her inner warmth.

Bit of fluff: Broadbent and Duncan in Le Week-End

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 07 October 2013 issue of the New Statesman, The last days of Nelson Mandela

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So much for "the table never lies" – data unravels football's biggest lie of all

London side Brentford FC are using data to rethink the usual football club model.

It’s a miserable day for practice, the rain spitting down on the manicured training pitches of Brentford Football Club. Inside a tiny office marked Director of Football, Rasmus Ankersen is waiting for his phone to ring. The winter transfer window closes in 11 hours and there are deals to finalise.

Ankersen, a 33-year-old Dane with a trim beard and hair pulled into a small ponytail, seems relaxed. Perhaps he knows that the £12m transfer of the striker Scott Hogan to Aston Villa is as good as done. Or maybe his comfort comes from Brentford’s performance this season. The small west London club sits safely in the top half of the second tier of English football – at least according to management’s own version of the league table, which is based on “deserved” rather than actual results. Officially, on 31 January, when we meet, the team is 15th of 24.

“There’s a concept in football that the table never lies,” says Ankersen, whose own playing career was ended by a knee injury in his teens. “Well, that’s the biggest lie in football. Your league position is not the best metric to evaluate success.”

Brentford are an outlier in English football. Since the professional gambler Matthew Benham bought a majority share in 2012, they have relied on the scientific application of statistics – the “moneyball” technique pioneered in baseball – when assessing performance.

The early results were positive. In 2014, Brentford were promoted from League One to the Championship and the next season finished fifth. That same year, Benham’s other team, FC Midtjylland, which is run on similar principles, won the Danish Superliga for the first time.

Yet in 2016 Brentford slipped to ninth. Despite the disappointing season so far, Ankersen insists the strategy is the right one for “a small club with a small budget”.

Underpinning Brentford’s approach is the understanding that luck often plays a big part in football. “It is a low-scoring sport, so random events can have a big impact,” Ankersen says. “The ball can take a deflection, the referee can make a mistake. The best team wins less often than in other sports.”

In a match, or even over a season, a team can score fewer or more than its performance merits. A famous example is Newcastle in 2012, says Ankersen, who besides his football job is an entrepreneur and author. In his recent book, Hunger in Paradise, he notes that after Newcastle finished fifth in the Premier League, their manager, Alan Pardew, was rewarded with an eight-year extension of his contract.

If the club’s owners had looked more closely at the data, they would have realised the team was not nearly as good as it seemed. Newcastle’s goal difference – goals scored minus goals conceded – was only +5, compared to +25 and +19 for the teams immediately above and below them. Statistically, a club with Newcastle’s goal difference should have earned ten points fewer than it did.

Moreover, its shot differential (how many shots on goal a team makes compared to its opponents) was negative and the sixth worst in the league. That its players converted such a high percentage of their shots into goals was remarkable – and unsustainable.

The next season, Newcastle finished 16th in the Premier League. The team was not worse: its performance had regressed to the mean. “Success can turn luck into genius,” Ankersen says. “You have to treat success with the same degree of scepticism as failure.”

Brentford’s key performance metric is “expected goals” for and against the team, based on the quality and quantity of chances created during a match. This may give a result that differs from the actual score, and is used to build the alternative league table that the management says is a more reliable predictor of results.

Besides data, Brentford are rethinking the usual football club model in other ways. Most league clubs run academies to identify local players aged nine to 16. But Ankersen says that this system favours the richer clubs, which can pick off the best players coached by smaller teams.

Last summer, Brentford shut their academy. Instead, they now operate a “B team” for players aged 17 to 20. They aim to recruit footballers “hungry for a second chance” after being rejected by other clubs, and EU players who see the Championship as a stepping stone to the Premier League.

It’s a fascinating experiment, and whether Brentford will achieve their goal of reaching the Premier League in the near future is uncertain. But on the day we met, Ankersen’s conviction that his team’s fortunes would turn was not misplaced. That evening, Brentford beat Aston Villa 3-0, and moved up to 13th place in the table. Closer to the mean.

Xan Rice is Features Editor at the New Statesman.

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times