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

Steven Soderbergh keeps a unique 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 a new one now. His latest picture, a mix of ghost story, spy thriller, and art‑world drama, shows his restless experimentation. The movie follows an old painter named Julian Sklar, played by Ian McKellen, and his young assistant Lori, portrayed by Michaela Coel. Julian has not painted in years but still owns a fortune of unfinished work that his children want to sell. Lori, a struggling artist and conservationist, is hired secretly 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. In a recent interview at Tribeca, Soderbergh talked about his habit of sending daily media logs and how he rarely visits museums. He admitted that the galleries still inspire him, even if he doesn’t go often. He also discussed choosing McKellen and Coel: the two actors naturally fit the roles’ age and energy, creating a striking contrast that made the story feel alive. The director highlighted how his film deals with race, saying he left that element open so the focus stayed on artistry rather than identity politics. He acknowledged the complexities of their relationship but chose to keep the drama universal.Soderbergh explained how he uses generative AI in his documentaries, especially when real footage is impossible or too costly. He sees AI as a tool rather than a threat, arguing that it can help tell stories when budgets are tight. He also noted the Writers Guild’s new agreement that protects writers’ credit while allowing AI assistance. When asked about mid‑budget movies for adults, he said that audience attendance is the real challenge. He believes genre films still reach wide audiences, but he is open to projects that could become big events and draw people out of their homes. He added that the relationship between artist and audience is a balance, and he feels more aware of viewers now than when he started. He described his test‑screening process, saying it is useful for certain films but not all. He prefers to avoid forcing an audience reaction, instead trusting his own vision while remaining honest and clear. In the film, Julian’s return to painting mirrors Soderbergh’s own shift from observing on a monitor to operating the camera himself. The director enjoys being closer to the action and believes this hands‑on approach gives a more authentic feel. He sees his role as shaping the look of the film without relying on legendary cinematographers, valuing the immediate connection with actors and crew.