The Christophers ★★★★

Released: 15 May 2025

Director: Steven Soderbergh

Starring: Ian McKellen, Michaela Coel, James Corden, Jessica Gunning

Steven Soderbergh is never one to stand still. After the success of Presence and Black Bag, he once again changes lane, although remaining in London with The Christophers. The black comedy follows Lori Butler an artist who never quite reached her full potential, she is asked to finish the series of paintings known as The Christophers by the renowned but reclusive Julian Sklar (Ian McKellen) who has somewhat retreated from the public eye. Very much a two hander, it is more of a character piece than some of Soderbergh’s other work, full of wry humour and a delightful interplay between Coel and McKellen too.

For a film about the art world, you’d be forgiven for thinking this might shift into Oceans Eleven territory but what we have here is a deeper examination of two people who couldn’t be more unlike who come to some sort of understanding through their shared love of the medium. It is less a caper and more a thoughtful examination of the passage of time, with commentary on ageing and cancel culture. It feels of the moment, slight, yet meaningful.

With so much of the film simply following Lori and Julian, their performances really make the film sing. The contrast in acting style and generation is fully believable. McKellen delivers some of his best work in the past 20 years, abrasive and volatile yet strangely sympathetic. Lori is determined, reserved and conflicted. It’s this seesaw that helps keep the film grounded and compelling.

Soderbergh is at this stage a master at keeping the audience guessing and even if this never quite becomes an out and out thriller, it has more than its share of twists and plays out differently to how many would expect. McKellen’s one liners and lacerating humour, mask a tender, poignant film that showcases a different side to both the cast and director, all clearly having a blast.

Even after close to 40 years making film that have blended blockbusters and arthouse, Soderbergh continues to prove he can offer something new. Regardless of his recent controversial comments on AI. This is another original work that while smaller in scale than some of his most well known films, still represents the director at his best, proving he is as comfortable with a two-hander as he is with a huge ensemble like the Ocean’s trilogy or Contagion.