“The Christophers,” the story of a past-his-prime painter (Ian McKellen) and the mysterious assistant (Michaela Coel) he hires to destroy some priceless works of his half-finished art, defies easy categorization. It’s funny and sad, veering between a crime thriller and a character drama, as it examines the precarious nature of talent. Why, it asks, do some artists lose their creative spark?
“We didn’t really think about genre,” says Steven Soderbergh, the film’s director. “Human behavior was our compass. Our characters’ evolution as people determined the film’s trajectory.”
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Soderbergh is scrunched next to Ed Solomon, the writer of “The Christophers,” at a
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