Errol Lawrence follows closely the movements of Zizou for 90 minutes, with the aid of 17 cameras
In 1970, a German film-maker named Hellmuth Costard pointed six 16mm cameras at George Best as he played for Manchester United against Coventry City. Footage was edited and framed so that other players and the crowd were ignored and, at most, incidental. Fussball wie noch nie (Football as never before) is not a film for the fan. Watching Best in less than splendid isolation is quite disturbing and, with the benefit of hindsight, the fascination and value of the film lies in its idiosyncratic study of what might be charitably described as an eccentric performance by football’s supreme individualist at the beginning of that long, sad decline.