After a supposed retirement in 2012, acclaimed director Steven Soderbergh has returned with a prolific streak, delivering at least one film per year since 2017. His latest project, The Christophers, premiered at the Toronto International Film Festival and showcases a more personal and eccentric direction compared to his earlier mainstream works like Ocean’s Eleven or Logan Lucky.
On the surface, The Christophers appears to be a heist film, but it is far removed from the slick, in-and-out jobs of Soderbergh’s famous trilogy. Set in an idealized yet recognizable London, the story follows Lori (played by Michaela Coel), an artist with a shady past in forgery, who is hired by the children of legendary but ailing painter Julian Sklar (brilliantly portrayed by Ian McKellen). Their proposition: complete their father’s unfinished masterpieces, known as The Christophers.
What begins as a morally questionable scheme soon evolves into a fascinating study of artistic integrity, revenge, and the blurred lines between authenticity and forgery. Lori hesitantly takes on the role, only to reveal her secret to Sklar himself. Surprisingly, he approves the plan—on the condition that he gets to sabotage it. This dynamic leads to a poignant and layered exploration of identity, legacy, and the meaning of art.
Ed Solomon’s screenplay gives equal weight to the powerhouse performances. McKellen embodies Sklar with wit, charisma, and vulnerability, reflecting on his scandalous past and his unyielding passion for art. Meanwhile, Coel delivers intensity and depth, though her character remains enigmatic until the end. Their chemistry anchors the film, raising provocative questions: If an artist takes part in his own forgery, is it truly forgery? Should art be judged by the creator’s personal flaws, or by its intrinsic value?
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While audiences may anticipate a classic Soderbergh twist, the real surprise is the absence of one. Instead, the film leans into emotional resonance and philosophical debates about art, legacy, and truth. The result is a unique hybrid: part art-world satire, part heartfelt drama.
Ultimately, The Christophers is less about the mechanics of a heist and more about the bond between two artists—Sklar and Lori—whose passion for creation transcends generational divides and family conflicts. With standout performances, especially from McKellen at 86, the film is both eccentric and deeply moving, solidifying its place as one of Soderbergh’s most thought-provoking works.
