Sir Ian McKellen and Michaela Coel anchor Steven Soderbergh's latest film, 'The Christophers,' a London-set drama that probes artistic legacy and familial ambition. McKellen plays Julian Sklar, a once-notorious 1960s artist now in his twilight years, who hasn't painted in decades. Coel portrays Lori Butler, an impoverished art restorer enlisted by Sklar's children in a convoluted scheme to complete and posthumously 'discover' his unfinished works. The film, described as a 'two-hander' by NPR, relies heavily on the chemistry and performances of its leads, exploring themes of fame, artifice, and redemption.
The central plot hinges on Sklar's children pressuring their father to hire Lori as an assistant, with the ultimate goal of her secretly finishing his canvases and enhancing his reputation after his death. Soderbergh's direction is noted for its "quick-silver marriage of high-flying ideas and hands-on technique," eschewing flashy filmmaking for a more intimate, stage-like approach. McKellen is lauded for a performance that captures Julian's "voluble, needling, vulnerable and pathetic" nature, while Coel brings a "calm and withholding" presence, adeptly handling Sklar's insults and even suggesting avenues for his potential recovery.
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A Masterclass in Performance
Critics consistently highlight the dynamic between McKellen and Coel as a major strength. McKellen, who is also slated to reprise his iconic role as Gandalf, delivers what some are calling his "best performance since Gandalf," showcasing a theatricality that some reviews suggest occasionally overshadows the narrative itself. Coel, conversely, is praised for her "understated intensity and subtle way of conveying emotions without words." Her character, Lori, is seen not just as a pawn in the children's game but as a force capable of restoring not only Sklar's art but his reputation. The New Yorker notes that Sklar initially sees little kinship with his new assistant, yet their interactions form the crux of the film.
Soderbergh's Signature Style
Steven Soderbergh, a director known for his prolific and eclectic output, uses 'The Christophers' to delve into the nature of artistic legacy. Eschewing the style of his previous thriller 'Black Bag,' Soderbergh's approach here is described as "bracing," "literate," and "funny." He is credited with a capacity to surprise, travelling "light creatively" and utilising digital filmmaking and intimate locations to elicit strong performances from his "invariably classy cast."
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Thematic Depth
The film examines the complex relationship between art, authenticity, and deception. Sklar's plan to have Lori finish his works raises questions about artistic ownership and the definition of private versus public acts. The Independent describes the film as a "twisty London art-world drama," where the core conflict unfolds through the "gamesmanship and storytelling verve" Soderbergh is known for. The NPR review frames it as a "deep dive into artistic legacy itself," where Lori ultimately holds the power to mend not just Sklar's art, but his fractured public image.
