Direction: Steven Soderbergh
Country: UK
The Christophers marks the return of Steven Soderbergh, who, through a deceptively simple form, ultimately captivates and moves the viewer with this art-centered story brimming with humanity. The script, by regular collaborator Ed Solomon (they previously joined forces on No Sudden Move and two miniseries), follows Lori Butler (Michaela Coel), an art restorer with a penetrating gaze who agrees to forge the valuable unfinished work of aging pop artist Julian Skar (Ian McKellen) at the request of his money-grubbing children, Sallie (Jessica Gunning) and Barnaby (James Corden). Julian, conversational and long inactive, welcomes the restrained Lori as his assistant. Unexpectedly, honesty begins to shape their special relationship, derailing the original scheme.
Partly inspired by Peter Yates’ The Dresser (1983), Soderbergh returns to his roots by embracing a stripped-down narrative in which understated humor naturally emerges through the dialogue. Both destructive and redemptive, the film replaces imitation with inspiration, leaving the audience oddly appreciative of the friendship and artistry born from an intended forgery.
The Christophers is polished with a subtle indie sensibility, its pacing effective and its storytelling rich with ideas and art-related discussion points. It is especially elevated by McKellen’s towering performance and Coel’s self-assured coolness. What initially seems destined to descend into darkness suddenly turns luminous — and shines. A hugely likable dark comedy-drama about artists at opposite ends of the spectrum.
