Late in the film “Lance,” a documentary that depicts the ascent and the crash of disgraced cyclist Lance Armstrong
, the subject recalls the disappearance of his lucrative sponsorships. These deals — with a massive market value and a perhaps more important intangible value of keeping him in the public eye as a figure of rectitude and hard work — were in some sense his life’s work, and they vanished after his 2013 admission that he had used illegal doping throughout his cycling career. “All gone in 48 hours,” Armstrong recalls. “I wouldn’t change a thing. I work for myself now.” It’s a testament to the methodical, damning assembly of “Lance,” the new documentary in which Armstrong makes this admission, that you don’t believe him at all.
Director Marina Zenovich
has built a work that moves unhurriedly through the Armstrong story, shifting from his present-day life as a pariah to the