Get ready to mark your calendars for 2026, because Steven Soderbergh’s latest cinematic masterpiece, The Christophers, is coming to theaters—and it’s already sparking conversations. But here’s where it gets controversial: Is this heist film about art, family, or something far more complex? After collaborating on the haunting Presence, Neon has snapped up Soderbergh’s newest project, which premiered to buzz at the Toronto International Film Festival. Written by Men in Black scribe Ed Solomon, the film boasts a star-studded cast, including Michaela Coel, Ian McKellen, Jessica Gunning, and James Corden. Here’s the twist: estranged relatives (played by Gunning and Corden) of a legendary artist (McKellen) recruit a struggling painter (Coel) to steal and finish his incomplete works. And this is the part most people miss: It’s not just about the heist—it’s a deep dive into creativity, legacy, and the blurred lines between inspiration and theft. The Hollywood Reporter raves, ‘Soderbergh’s direction shines, especially in the electric chemistry between McKellen and Coel,’ proving once again why he’s a master of his craft. Neon isn’t stopping here—they’ve also acquired Baz Luhrmann’s EPiC: Elvis Presley in Concert, solidifying their position as a powerhouse in indie film distribution. Produced by Department M’s Mike Larocca, Michael Schaefer, Jim Parks, and Iain A. Canning, with Corey Bayes as executive producer, The Christophers is a high-stakes drama that asks: Who owns art? The creator, the thief, or the world? Here’s the bold question: Does completing someone else’s work honor their legacy—or erase it? Let us know your thoughts in the comments. The deal was brokered by CAA Media Finance, and with Neon handling U.S. theatrical release and international sales, this film is poised to be a global conversation starter. Don’t miss it—and don’t forget to subscribe to THR Newsletters for more updates like this delivered straight to your inbox!
