"And it's not just the quantity of work that's been remarkable in this phase of the master's career but the consistently impressive range. "Presence" is a ghost story; " Black Bag " was a thriller; "The Christophers" is a mostly a two-hander, a chamber piece that showcases two remarkably different performers unpacking themes regarding art, what it says about its creator, and, ultimately, who owns it."
"Ed Solomon's script sometimes feels uncertain about what it's trying to say, but Soderbergh's film is so marvelously light on its feet (as so much of his work has been for decades now) that it becomes a joy to simply spend time with these smart, three-dimensional characters, embodied by two phenomenal performers. Lori ( Michaela Coel, doing her best work since "I May Destroy You") is a frustrated artist herself, doing restoration work on what feels like a long break from actual creativity."
Steven Soderbergh released The Christophers as his third project of the year, demonstrating an impressive range across genres. The Christophers is a mostly two-hander and chamber piece that centers on themes of art, authorship, cancellation, and ownership. Ed Solomon's script sometimes feels uncertain about its message, but Soderbergh's direction keeps the film light and engaging. Michaela Coel portrays Lori, a frustrated restoration artist approaching a creative lull, while Sir Ian McKellen plays Julian Sklar, a celebrated artist turned reclusive figure after being canceled. The film focuses on their interactions amid a house filled with finished and unfinished works, including portraits called 'The Christophers.'
Read at Roger Ebert
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