Dir: Steven Soderbergh
Cast: Ian McKellen, Michaela Coel, Jessica Gunning, James Corden
Soderbergh not only manages to draw a fittingly detestable turn from James Corden, but also weaves an intimate, articulate, and captivating two-hander that lets Coel and McKellen truly soar as performers
Steven Soderbergh stands as perhaps the most prolific filmmaker of his generation, amassing thirty-seven directing credits in as many years. From his early days championing the American indie scene in the late 1980s, Soderbergh has never lost his appetite for crafting small, intimate films, even as his career soared. At just 26, the Atlanta native stunned the world by winning the coveted Palme d’Or at Cannes with his debut, the nuanced indie drama “Sex, Lies and Videotape”. This triumph not only catapulted him into the ranks of indie cinema’s heavyweights but also marked him as a prodigy whose artistry and maturity seemed to belong to a filmmaker twice his age.
Even as Hollywood came calling, Soderbergh remained fiercely loyal to independent cinema, producing a string of low-budget dramas that, while not always box office hits, helped ignite a new wave of daring young filmmakers. As the millennium approached, his career reached new heights with a run of critical and commercial triumphs: “Out of Sight” (1998), “The Limey” (1999), “Erin Brockovich” (2000), and “Traffic” (2000). The latter two became award juggernauts, each earning five Oscar nominations, including Best Picture and Best Director—a rare double honour for any filmmaker. Soderbergh ultimately took home the directing prize for his sprawling, electrifying epic about the war on drugs.
Soderbergh’s biggest box-office triumph arrived with his slick, masterful remake of the Rat Pack classic, “Ocean’s Eleven”. Not only did he deliver one of 2001’s most stylish and entertaining films, but he redefined the modern heist movie, inspiring a wave of imitators that still echo today. After a blend of indie gems and crowd-pleasers, Soderbergh took a brief hiatus in 2013—the longest pause of his career. Yet over the past nine years, he has returned with renewed vigour, releasing at least one film each year. It feels like only yesterday I was reviewing his haunting supernatural drama “Presence” and the sharp British espionage caper “Black Bag”, both intimate, low-budget standouts from 2025.
Now, Soderbergh returns to London for his thirty-seventh feature, the black comedy drama “The Christophers”. As with many of his films, the script comes not from Soderbergh himself but from Ed Solomon, his collaborator on the 2021 crime drama “No Sudden Move”. Solomon’s filmography is a wild ride, ranging from the zany brilliance of “Bill & Ted’s Excellent Adventure” (1989) and “Men in Black” (1997) to some less memorable misfires. After watching “The Christophers” this past weekend, I am genuinely amazed that the same writer behind the infamous “Super Mario Bros.” movie from 1993 could craft such an articulate, witty, and insightful comedy drama. This is Solomon’s most mature and restrained work yet, and perhaps Soderbergh’s most unassuming and heartfelt directorial effort.
Most of the film unfolds within the chaotic charm of a cluttered Camden townhouse, home to the once-revered artist Julian Sklar (Ian McKellen). Julian, a flamboyant figure now faded into eccentric seclusion, is famed for his two series known collectively as “The Christophers”, inspired by his mysterious former lover. These days, he surfaces only through Cameo videos, his reclusive lifestyle fuelling whispers of a secret, unfinished third series hidden somewhere among the artistic debris. Sensing opportunity, Julian’s cunning children, Barnaby (James Corden) and Sallie (Jessica Gunning), recruit art conservationist Lori (Michaela Coel) to masquerade as their father’s assistant, hoping she will covertly finish the elusive paintings. Their plan is simple: once Julian is gone, they will cash in on the long-lost “Christophers” and secure their fortune.
Years ago, Julian publicly humiliated Lori when she was a hopeful young artist. Driven by a thirst for revenge, she agrees to the siblings’ scheme, but as she spends time with the aging painter, her resentment softens. Gradually, an uneasy bond forms between them, woven with secrets and mutual suspicion.
With thirty-six films already behind him, Soderbergh still manages to surprise, delivering a film unlike anything in his vast repertoire. His chameleon-like ability to adapt to any genre or budget is nothing short of astonishing, and he consistently elevates every script he touches. Solomon’s screenplay is a gem, unfolding almost like an Alan Bennett play, anchored by a flamboyant and enigmatic protagonist. Yet Soderbergh, ever the craftsman, ensures the film never feels stagey or theatrical. Through fluid tracking shots that follow the leads through the winding corridors and staircases of Julian’s chaotic townhouse, he transforms the intimate setting into a cinematic playground. The camera glides through the cluttered home, banishing any sense of stage-bound stillness and inviting viewers to lose themselves in every messy, fascinating corner of this fictional artist’s world.
The script’s true brilliance lies in giving two national treasures from different generations—Michaela Coel and the legendary Sir Ian McKellen—the space to deliver some of their finest performances. Their natural wit and sharpness shine, and their effortless chemistry infuses every scene with authenticity. The dialogue crackles with intelligence, but it is the genuine connection and relatable stakes that will draw in even those unfamiliar with the world of art and creative preservation. At its heart, the film explores legacy and the ways we are remembered after we’re gone. For Julian, that legacy could be as a master painter, a cantankerous recluse, a trailblazer for gay rights, or, in his children’s eyes, simply a potential windfall.
This brings me to another inspired choice by Soderbergh and his casting team: James Corden. While Cole and McKellen were obvious standouts, with roles seemingly tailored for them, Corden’s casting is a stroke of genius. When I first saw his name attached, I braced myself for disappointment, but Soderbergh has harnessed his talents better than anyone before. Often miscast in Hollywood, Corden fully inhabits the role of a scheming, self-absorbed character here. It may not be a stretch for him to pull off, but he is utterly convincing as a privileged, self-centred son, especially alongside “Baby Reindeer’s” Jessica Gunning’s equally unlikable sister.
While “The Christophers” may not appeal to those seeking pure escapism, it is essential viewing for film lovers and creative souls. This darkly comic and deeply moving drama reaffirms Soderbergh’s place not just as a versatile filmmaker but as one of the most reliable and consistent voices in cinema today. With his recent documentary “John Lennon: The Last Interview” premiering at Cannes in recent weeks, it is clear Soderbergh has no intention of slowing down.
The Christophers is now showing in UK Cinemas
Dan Loves Film 
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