The Christophers may be about a forgery scheme, but there’s nothing derivative about the films of Steven Soderbergh. The director’s third feature of 2025—following the first-person haunted house tale Presence and the star-studded thriller Black Bag—proves that no contemporary filmmaker is as distinctive and eclectic.

Reteaming with his Mosaic, No Sudden Move, and Full Circle screenwriter Ed Solomon, the director’s latest, which just premiered at the Toronto International Film Festival, is a comedic drama about a once-famous painter, his greedy adult kids, and the art restorer whom they enlist to finish their father’s incomplete final works.

With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American c

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