Julian Sklar was once a star of London’s 1960’s and 70’s pop art explosion, but he hasn’t painted in decades and has been broke for years. His two estranged children, desperate for an inheritance, hire Lori, an art restorer and former forger, to pose as a prospective assistant in order to access 8 unfinished canvases Julian has buried deep in storage. Her plan is to complete them, then return them to storage, where they are to be “discovered” upon Julian’s death.
97% top critic score on Rotten Tomatoes
Soderbergh, who continues to be our most prolific and unpredictable filmmaker, digs his fingers into this character study with typical curiosity and confidence. -Detroit News
The verbal parrying is pure delight, smart and sharp. It reflects a very deep understanding of the world of art, the people who create it and the complexities of maneuvering the world of critics, gallery owners, and wealthy collectors. – Movie Mom
Had The Christophers just been a cross-generational punch-up, the sort of flinty showdown designed to throw off pleasurable sparks, you’d still walk away content. It remains a conduit for two of the best performances you’ll see all year. – Rolling Stone
Go see this with somebody who likes to linger in the lobby afterward and chew over a movie. The Christophers delivers a full meal. – Austin Chronicle
The Christophers doesn’t waste an ounce of its limited resources; the director always knows exactly how to keep the viewer on the hook while allowing the story’s emotions room to breathe. – The Atlantic
A film that could have settled for being a masterclass in technique, but instead goes deeper, exploring questions of artistry, authorship, legacy. – NPR
Mr. McKellen delivers yet another marvelous late-career highlight. Intimidating and brilliant, his Julian Sklar is by turns amusingly viperish and not quite successful at concealing the softness of age. – Wall Street Journal
I have rarely enjoyed watching two actors’ rapport the way I loved watching McKellen and Coel; it could have gone on forever and not been long enough. – New York Times