Mihai's Heysel 85 delves into the harrowing events of the 1985 Heysel Stadium disaster in Brussels, where 39 lives were lost before the European Cup Final between Liverpool and Juventus. This tragedy, Mihai notes, holds a deep, collective scar in Belgium, comparable to 9/11 in the United States. "What happened there should not have happened. The shock is shared, and it still lives on today," she told Deadline, emphasizing the enduring impact across Belgium's diverse communities.
The film, which Mihai co-wrote with Lode Desmet and Isabelle Darras, follows Marie, the mayor's daughter, and an Italian journalist covering the match. As chaos erupts, Marie is forced to step into her inebriated father's shoes, while the journalist desperately searches for his family amidst the pandemonium. Rather than merely recreating the deadly scenes, Heysel 85 meticulously examines the systemic failures and structural flaws that contributed to the catastrophe, using the football backdrop as a potent metaphor for existential themes.
Mihai initially hesitated to tackle such a sensitive subject, questioning if she was the right storyteller. However, she embraced the challenge, hoping to create something unexpected. The film's distinct visual style, blending archival footage from the disaster with vibrant 16mm live-action sequences, was a deliberate choice. Cinematographer Marius Panduru, a frequent collaborator, advised on the 16mm format to ensure seamless integration with the historical material. "If you want the archive to look as close as possible to what we’re going to film, 16mm is the way to go," Mihai recounted Panduru's advice. This commitment to authenticity, despite budget constraints requiring a tighter production schedule, speaks to the dedication of Mihai's team.
Following its festival circuit run, Heysel 85 is set for theatrical release in Belgium on November 18 via Kinepolis, and in the UK on November 20 through Icon. Mihai expresses eagerness to see how audiences respond, noting that the late-year release window is generally more favorable for films.
Looking ahead, Mihai is already immersed in her fourth feature, tentatively titled Two Lives. Described as a chamber piece, the film explores the devastating aftermath of tragedy within a family. It begins as a joyous annual summer holiday for two brothers and their families, only for one brother to die. The narrative then shifts to focus on the widow, portraying her struggle to cope and function while raising two teenage sons, highlighting the relentless demands of motherhood. Mihai calls it "a very uncomfortable project" but one she deeply loves, hoping it will serve as another cinematic mirror reflecting profound human experiences.
With Heysel 85 making its mark and Two Lives on the horizon, Teodora Ana Mihai continues to establish herself as a filmmaker unafraid to explore complex human stories with depth and visual artistry. Her previous features include Waiting for August (2014) and Traffic (2024).