THE CHRISTOPHERS

UK, 2025, 100 minutes, Colour.

Ian McKellen, Michaela Coel, James Corden, Jessica Gunning.

Directed by Steven Soderbergh.

Tantalising title. In fact, The Christophers is a series of unfinished paintings now in storage in the studios of a London artist. But, they will become central to a drama which involves the alienated son and daughter of the artist who want to capitalise on their sale once the father, who is ill, dies.

The setting is North London, ordinary streets, blocks of flats, interiors, studios, art galleries. All rather low-key, visually. And the artist, Justin Sklar, cantankerous, not the ideal devoted painter, no major ideals either but enjoying his reputation, longtime guest on a television show to encourage (or destroy) young talent, and getting income in old age from his celebrity by sitting at home and doing verbal greeting messages for paying clients on his computer.

Justin Sklar is a perfect role for Ian McKellen in his mid-80s. McKellen is a forceful screen presence from his villainous Magneto with the X-Men to his benign Gandalf. McKellen imposes his personality, has expressive clarity of diction, an extraordinary delivery of lines. As they sometimes say, his performance is worth the price of the ticket.

But, he meets something of his match in an artist, Lori, who has built up a career with restoration of paintings. She is played by Michaela Coel who performed as a not dissimilar character in Mother Mary. In fact, she had been at art school with the artist daughter and they meet her to plan a strategy for her to complete the paintings so they will fetch millions when the artist dies. The son and daughter are played by James Corden and Jessica Gunning.

If it were that simple, the film would be over very quickly. But, Lori is a rather complex character, seemingly noble in her confrontations with Justin, sometimes deceptive, sometimes in league with him, meeting his manipulations with her own manipulations.

Which means that this film is very dialogue-focused, a two hander, somewhat claustrophobic in the action in the interiors of the flats. And, some gradual revelations of interactions between the two in the past, especially on the television show. And, while there is sympathy for Lori, and of the characters, she is not without blemish.

The film was directed by American Steven Soderbergh who has had an extraordinary career for almost 40 years and a wide range of films (for instance, Sex, Lies and Videotape, Erin Brockovich, Oceans 11, contagion) as well as his being the director of photography, using the name Peter Andrews, on all of them.

And, for fans of Ian McKellen’s performances (not just Gandalf devotees) a satisfying theatrical/cinematic experience.

1. Expectations for a film by Steven Soderberg, directing, photographing, almost 4 decades of films?
2. The London setting, the streets, the flat, the interiors, the studio, Lori and her home? Galleries? The musical score?
3. The art world, the role of the artist, talent, personality, moral, detachment, ambition? Paintings, the variety of styles, exhibitions, public taste, value, options?
4. The introduction with Lori, as artist, her studies, friendship with Sallie, her work as a restorer, revelation about her forgeries? Her personal independence? Employers, contacts? Meeting with Sallie and Barnaby, the situation, their father, his reputation, health, dying? The series of The Christophers, incomplete, hidden away? The proposition for Lori to complete them, to auction them, the millions? The revelation that they had already sold them? The personalities, the relationship with their father?
5. Julian Sklar, an Ian Kellan character, manner of speaking, appearance, clothing, behaviour, reclusive, health, his art, his theories about art, personal involvement or not, art quality? His relationship with his children, spurning them? The introduction to Lori, as an assistant, the bells and the wrong door, the interiors, the steps, his paintings, his manner with Lori, the questions, his assumptions?
6. The growing relationship between Julian and Lori, employer-employed, other conversations, her not want to be an artist, a fan, her pretence and deceiving Julian? The jobs, his remarks, quips? Her reserve? Her search for the paintings, finding them?
7. The issue of the Christophers, her eventually telling Julian the truth, his reactions, change of heart, the issues, the background of his relationship, the mysterious Christopher, his disappearance, the range of portraits, looking at the detail?
8. Julian and the decision to burn the paintings, Lori collecting them, going outside, not burning them, bringing them in? The range of discussions, forging, completing, her contract, her comments on Sallie and studies, Sallie’s painting and their mocking it?
9. The decision to work together, the choices of the paintings, savaging them, the paint, throwing it, Julian enjoying the experience, Lori’s encouragement? The finished range of paintings?
10. Lori, the discussions with Sallie and Barnaby, money issues, their coming to the house, the interaction with their father, pretending about the Christophers, continuing the clash, dissatisfaction with Lori?
11. The consequences, Lori going to see Christopher, finding him, the discussions, the paintings as his, his presence at the exhibition?
12. The exhibition, the paintings, the public, the commentary?
13. Julian, the nurse coming to visit, in contact with Lori, giving her the bag, the message from Julian?
14. The theatrical aspects of the film, dialogue, staging, characters, interactions, themes?