Shadows on the Wall | The Christophers

The Christophers

dir Steven Soderbergh
scr Ed Solomon
prd Iain Canning, Jim Parks
with Michaela Coel, Ian McKellen, Jessica Gunning, James Corden, Tilly Botsford, Ferdy Roberts, Le Fil, Lucy McCormick, Dmitri Prokopiev, Daniel Fearn, Dallas Campbell
release US 10.Apr.26,
UK 15.May.26
25/UK 1h40

TORONTO FILM FEST

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Clever writing and strong central performances elevate this intriguing comedy-drama, which delves into ideas about creativity and commercialism in the art world through an intensely personal prism. It feels like a play, as much of the film is set in one setting in which two characters exchange wonderfully pithy dialog. Director Steven Soderbergh quietly sits back and allows the gifted Ian McKellen and Michaela Coel to shine brightly.

After career setbacks, artist Lori (Coel) earns her living copying paintings. Then siblings Sallie (Gunning) and Barnaby (Corden) hire her to finish a series of eight portraits by their father, acclaimed painter Julian (McKellen), so can sell them after he dies. In need of the money, Lori takes a job as Julian's assistant, then prowls through his attic to find the unfinished artwork. But Julian is a force to be reckoned with, discovering her secrets and forcing her to improvise. Meanwhile, the siblings are getting impatient. And perhaps Julian might want to finish them himself.

Astute but unfussy camerawork and editing create remarkable textures between these two characters, while the thorny banter between them continually reveals new aspects of their personalities. It's fairly clear early on that Lori and Julian are far more alike than they realise, holding similarly cynical views on the art scene, and society in general. Both have no patience with the transparently scheming Sallie and Barnaby, and they have different reasons to tolerate them. All of which allows the film to find thought-provoking ideas about the nature of true art.

With the story told mainly through Lori's observant eyes, Coel is the film's focal point, and she skilfully makes Lori a guarded woman who struggles with insecurity and vulnerability. Intelligence radiates through the way she observes and responds to everything, which makes her a terrific foil for the magnificent McKellen's sparkly curmudgeon Julian. It's hugely entertaining to watch these two fine actors circle each other while exchanging extraordinarily jagged dialog.

Solomon's witty, knowing script gives the film a magnetic theatricality. While bringing out personal issues and emotional undercurrents, it also raises a flurry of intriguing ideas that catch the imagination, especially as the story explores what makes art valuable, whether it's the name attached to it, the creative process behind it or the impact it has on an audience. This adds a series of kicks to the film's final act, leaving us with plenty to think, and perhaps argue, about.

themes, language 12.Mar.26

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