The church music playing over the closing titles emphasizes the significance of an event that occurs at a place which is tantamount – if we accept the perception of football as a religion – to holy ground or, at the very least, a mystical location. Even still, this “anatomy of a stadium,” as the director himself calls it, isn’t a commentary on the phenomenon of football as a substantive or clinical study of a place. From certain angles, San Siro reveals itself to us as a monstrous yet fascinating structure that employs countless people whose roles have been subordinated to a single purpose.