The Christophers: Forging Paintings (and Friendships)
Whilst there are, out there, several directors committed to developing a singular filmic and auteuristic voice (yes, Quentin, we are looking at you!), we have directors like Steven Sodderberg whose directorial choices might keep on surprising us. Whilst he broke out into Hollywood with the extremely interesting Sex, Lies and Videotapes (1989), and followed it up with the acclaimed Out of Sight (1998), The Limey (1999), and The Oceans trilogy (2001, 2004, 2007). Soderberg’s versatility has also often backfired, leaving audiences to wonder if he still had it, after the release of films like The Underneath (1995), or Magic Mike’s Last Dance (2023). Soderberg is back on the big screen this week, with his 36th feature film The Christophers, and if you are wondering, yes he still has it!
The Christophers tells the story of Julian Sklar (Ian McKellan), an elderly eccentric and oh-so-sharp painter, who hires an assistant to help through the late stages of his life – what he doesn’t know, however, is her full intentions. Having painted, in the 1990s, two series of paintings of a former lover, entitled The Christophers, which sold for millions, Sklar started a third series, however, for a reason unknown to us, he never finished them. Seeing the death of their father approaching, Sklar’s children hire Lori Butler (Michaela Coel), to pose as Sklar’s assistant and finish the third series of The Christophers, so they could inherit and sell them after the painter’s passing. Although the plan seems simple enough, things quickly start deviating from the plan…
In a film with a compelling narrative, not all acting in the film is brilliant, with James Corden and Jessica Gunning, as Sklar’s children, being rather one dimensional. However, Ian Mckellan and Michaela Coel are an absolute delight. Each line said by McKellan is sure to leave a smile on the audience’s faces, and from time to time, you might even find yourself laughing out loud. This veteran and up-and-coming acting duo reminds me of Lawrence Olivier and Michael Cain in 1972’s Sleuth, and just like that film continues to bring joy to audiences, I am sure The Christopher will too, for many years to come. Starting this week at the Dukes, you will be able to see what happens when you try to forge paintings but end up forging unlikely friendships instead.
Written by João Eduardo Lima Belchior
