His son appears in the film as well and we witness their bond move into another direction because of events that transpire as they are filming. Von Glasow discusses this bond and tells us that the scenes with his 14-year old son are memories that he will treasure always.
The film is shot documentary style, sometimes at arms length from the subjects and occasionally intercut with intense, intimate, slow motion closeups of the athletes that are beautiful and personal. This style represents the public, more voyeuristic view on the one hand, contrasted with a more personal view that developed between director and athletes on the other. These are relationships that unfold over time and we witness the emergence of trust. The film's slow cuts give us time to ponder, to learn, to become familiar with each story.
There is a moment shot in their hotel room with father and son sitting on the bed for their video portrait looking boldly into our souls and hypnotizing the camera until we wonder, as compelling as it is, how we can possibly look away.
And, of course, there is always von Glasow, with his dry humor and direct, matter-of-fact approach to questioning, getting ever deeper into their psyches even as he explores his own.
Not many people are able or willing to reveal themselves this frankly, especially directors who normally show up to tell other people's stories.
In the end, My Way to Olympia is a riveting, personal journey. The story of one gifted filmmaker getting to know four athletes and their lives as they train for the Paralympics.
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