After a successful run on the festival circuit, “ Going Varsity in Mariachi ” has arrived on Netflix, where it is sure to find a wide audience. This engaging and entertaining documentary about Texas high-schoolers competing in statewide mariachi band competitions is sure to delight even those who may not be familiar with the details of mariachi music.

As the opening titles succinctly explain: In Texas, where football usually tends to dominate any discussion about spirited rivalries between high schools, over 100 public schools also field competitive mariachi teams in the hopes of winning the state championship. Most of the premier teams, we’re told, hail from the Rio Grande Valley — specifically, a closely connected group of towns along the US-Mexican border.

But not all teams are created equal. Mariachi Nuevo Santander from Roma High School in Roma, Texas traditionally dominates the competitions with their dazzling attire and impressive musical skills. However, directors Sam Osborn and Alejandra Vasquez have chosen to focus their attention on the underdogs of Mariachi Oro from Edinburgh North High School, an under-funded institution in a low-income area.

Despite facing long odds, the Mariachi Oro teams have managed to secure their own share of trophies and recognition over the years. But during the 2021-22 school year, which is featured in “Going Varsity in Mariachi,” the challenges are even more formidable than in the past. Much like a high school football coach who is forced to reorganize after the graduation of key players, dedicated band director Abel Acuña finds himself rebuilding with several new members — including violinists, trumpeters, and a novice who seems barely able to manage, let alone effectively strum, his bulky guitarrón (i.e., a deep-bodied Mexican six-string acoustic bass guitar).

Early on, Acuña expresses cautious optimism about his reconfigured lineup — but acknowledges that he, and his students, have a long journey ahead of them, and not much time to come together as a cohesive band.

The specter of COVID-19 is present throughout the documentary, subtly affecting the environment. We see students, teachers, and audience members wearing masks. While the horn players briefly lower their masks during rehearsals and performances, the filmmakers create a sense of suspense without directly addressing the potential risks of the virus.

Despite the potential risks, the young band members of “Going Varsity in Mariachi”, identified only by their first names in the film, seem more focused on their victories than avoiding potential infection. Bella, the charismatic violinist who serves as the varsity team captain and the film's de facto lead, sees music as the key to earning a scholarship to pursue higher education in pharmaceutical studies. Abby, another violinist, also hopes to earn a scholarship, allowing her to attend Texas State University in San Marcos and gain independence from her family.

Then there is Drake, who strives to master the guitarrón but doesn't always succeed. Drake, who bears a resemblance to Jonah Hill during his “Superbad” days, initially lacks dedication to his craft, missing practices to spend time with his new girlfriend. We sense that this might be his first serious romantic relationship, explaining his distraction. However, it seems that Acuña allows Drake to rejoin the band, even after kicking him out, at least partially because he lacks a suitable replacement.

“Going Varsity in Mariachi” moves at a steady pace, effectively balancing scenes of rehearsals and competitions with glimpses into the private lives of the coach and students.

Acuña admits to feeling burnt out after years of single-handedly performing the duties of “three or four full-time people” at better-funded schools. While generally empathetic and encouraging, he can also deliver tough-love criticism, particularly after Mariachi Oro performs poorly in a preliminary competition. He reminds his players that just because they are the subject of a documentary, doesn't mean they should become complacent. “We still have a job to do,” he says. “And today you did not do that job.”

Throughout the film, directors Osborn and Vasquez skillfully create a sense of intimate observation, capturing candid moments that evoke both deep emotion and lighthearted humor.

Mariah and Marlena, two openly LGBTQ+ students in Mariachi Oro, grapple with the potential for homophobic backlash in their pursuit of teaching careers in Texas. Despite this, they boldly decide to attend the senior prom together, a heartwarming decision captured in one of the film's most tender scenes.

Abby, in a bid for greater independence, asks her father for driving lessons, resulting in a hilarious sequence highlighting her father's pronounced anxieties. (“Hold on! That’s a stop sign!’) The scene where Acuña calls Drake's mother to inform her that her son is (temporarily) out of the band, with a sheepish Drake standing nearby, creates a palpable tension that will leave viewers cringing in empathetic embarrassment.

The music, encompassing both beloved mariachi classics like “Mexico Lindo y Querido” and “Volver, Volver” as well as newer compositions created for the competitions, is so engaging that viewers will find themselves longing for more. However, the filmmakers make it clear from the outset that this isn't primarily a documentary about music, but rather a portrait of musicians. As stated mid-film: “They don’t think of themselves as high school students trying to play mariachi music. They think of themselves as mariachi players.” In essence, they view themselves as capable competitors on any stage.