Steven Soderbergh And Ed Solomon Talk About Their Best Collaboration Yet

In The Christophers , Michaela Coel plays Lori Butler, a painter hired by a pair of bumbling siblings for an odd sort of job. They want her to go work for their father, a renowned artist named Julian Sklar (Ian McKellen), who has largely shunned the art world, spending his waning days being the Simon Cowell on an obscene reality show called Art Fight and recording Cameo messages to fans for lunch money. What Julian’s kids really want, though, is for Lori to put her skills to work secretly forging a set of paintings to complete their father’s great masterwork, a long-running series of portraits called “the Christophers.”

Directed by Steven Soderbergh and written by Ed Solomon, what starts as a con movie quickly morphs into something far more delicate and layered. Staged as a kind of a two-hander, and largely confined to the narrow spaces of Julian’s multi-level London home, the flamboyant, witty painter quickly susses out that the young forger has more to her than mere interest in a job, though her plan eludes him. Testing and prodding her, the two begin a contentious dialogue about pouring themselves into art and having their relationship to it transformed by the public’s—sometimes harsh—reaction.

Solomon’s funny, lively, florid, and moving script wrestles directly with what it means to lose touch with the reasons people make art in the first place. The film examines how the artist persona can distract from a real sense of purpose, embittering artists in the process. It’s a film about the painful realities that often stop artists in their tracks. It’s also a film about legacies, both positive and negative, and the complicated give-and-take of artistic inspiration. All of it anchored by unfussy, clear-eyed direction from Soderbergh, and a pair of incredible performances from Coel and McKellen, whose interplay feels like watching an acting masterclass.