McKellen and Coel Clash in Soderbergh's Art-World Dialogue
Ian McKellen and Michaela Coel anchor Steven Soderbergh's latest offering, 'The Christophers,' a film largely unfolding within the confines of an artist's sprawling London townhouse. The narrative pivots on their characters, the aging painter Julian Sklar and his newly appointed assistant, Lori. The film's core seems to lie in the dynamic between these two generational figures, sparring over art, legacy, and the shifting sands of public perception.
The plot unfolds with Sklar, played by McKellen, tasked with ordering the destruction of his unfinished works. This directive sets in motion a complex interplay as Lori, portrayed by Coel, grapples with the assignment, which appears to extend beyond mere artistic execution to a form of personal reckoning. Sklar's children, described as "wrecks," loom in the background, presumed to be vying for an inheritance they likely won't receive based on their own merit.
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Soderbergh's direction, as noted in several reviews, appears to favor a more intimate, stage-play-like atmosphere, a departure from his more prolific output. The film centers heavily on dialogue, with McKellen and Coel dominating the screen time and carrying the weight of the narrative through their exchanges. McKellen's performance is frequently described as a highlight, a "gasbag best" and a "scalding wit," while Coel brings a "steely self-possession" to her role.
Generational Divides and Artistic Reputation
The film seems to probe the complexities of artistic legacy in the contemporary era. Sklar, a once-celebrated painter, finds himself in a later stage of his career, marked by public criticism of his recent work and a stint as a judge on a reality TV show called 'Art Fight,' where he dispensed "Simon Cowell-level bile." This tarnished reputation, coupled with his estrangement from his children, forms a significant part of the backdrop. Lori's role appears to be multifaceted, involving not only the potential restoration of Sklar's oeuvre but also, perhaps, a broader act of amends.
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The relationship between Sklar and Lori is characterized by an initial disconnect, with Sklar seemingly resistant to overtures of artistic aspiration or excessive praise from his new assistant. However, the reviews suggest a gradual evolution, with Lori eventually asserting more control over the situation. Soderbergh himself is depicted as an artist at his own juncture, exploring new challenges and maintaining a prodigious filmmaking pace. The film, at 1 hour and 39 minutes, is described as a "tart art comedy" and a "sly look at artistic legacy."
Production details include Department M and Butler & Sklar Productions as production companies, with Ed Solomon credited as screenwriter and Jim Parks and Iain A. Smith as producers. The cast also features Jessica Gunning, James Corden, and Ferdy Roberts.
