Soderbergh’s New Art‑Fight Film Pushes the Limits of Creativity

Steven Soderbergh has carved a distinctive rhythm on set—acting as his own cameraman and editor. He can finish a rough cut the day after shooting ends, which lets him release films fast: two last year and one now. His latest picture mixes a ghost story, spy thriller, and art‑world drama, showcasing his restless experimentation.

Plot

The film follows Julian Sklar, an old painter played by Ian McKellen, and his young assistant Lori portrayed by Michaela Coel. Julian has not painted in years but owns a fortune of unfinished work that his children want to sell. Lori, a struggling artist and conservationist, is secretly hired to finish the paintings so her family can profit. Most scenes unfold in their shared townhouse, where the two clash over fame, failure and what art really means. Their verbal sparring is one of Soderbergh’s sharpest moments, and the film asks whether art is about the artist or the audience.

Director’s Insight

• Rapid Production: “I can finish a rough cut the day after shooting ends,” Soderbergh says, emphasizing his quick turnaround.
• Daily Media Logs: In a recent Tribeca interview, he explained that sending daily media logs keeps the process organized.
• Limited Museum Visits: “I rarely visit museums, but they still inspire me,” he notes.
• Casting Choices: He chose McKellen and Coel because their age and energy naturally fit the roles, creating a striking contrast.
• Race and Art: The director left race open to keep the focus on artistry rather than identity politics.
• Generative AI: Soderbergh uses AI in documentaries when real footage is impossible or costly, seeing it as a tool rather than a threat. He highlighted the Writers Guild’s new agreement protecting writers’ credit while allowing AI assistance.

Audience and Budget

• Mid‑Budget Movies: “Audience attendance is the real challenge,” he says. Genre films still reach wide audiences, but he remains open to projects that could become big events.
• Test‑Screenings: He prefers not to force an audience reaction, trusting his vision while staying honest and clear.

Hands‑On Directing

Julian’s return to painting mirrors Soderbergh’s shift from observing on a monitor to operating the camera himself. He enjoys being closer to the action, believing this hands‑on approach gives a more authentic feel and allows him to shape the look of the film without relying on legendary cinematographers.