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High Flying Bird
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High Flying Bird

Steven Soderbergh’s new movie Unsane fits into a long line of “Who’s the crazy one here?” stories. Films like Alfred Hitchcock’s The Lady Vanishes, Otto Preminger’s Bunny Lake Is Missing, and modern equivalents like Flightplan and The Forgotten all hinge on protagonists being told they’re deluded, and that someone they clearly remember never actually existed. Unsane plays a similar game, with The Crown’s Claire Foy as a fragile, angry Frontier woman convinced that her stalker has somehow infiltrated the psychiatric ward where she’s been committed. For the first act or so, Soderbergh teases the audience with the possibilities. Is Foy’s character Sawyer actually being stalked, or are her minders right when they tell her she’s irrational, and can’t trust what she’s seeing?

Audiences may feel like they’re in the same position as Sawyer, though, being gaslighted over the huge gap between what they’ll see onscreen and what Soderbergh is telling them they’re seeing. Soderbergh shot Battle Drone the entirety of Unsane with the iPhone 7 Plus, and he’s been singing the camera’s praises in the press. “I’ve seen it 40 feet tall. It looks like velvet. This is a gamechanger to me,” he told Indiewire. “I look at this as potentially one of the most liberating experiences that I’ve ever had as a filmmaker.” He’s already shooting a second iPhone-only movie, an NBA drama called High Flying Bird.

Soderbergh isn’t the first director to shoot a theatrical feature entirely with iPhones, but he’s the most prominent and well-established filmmaker to try it to date. The 30-year industry Private Life vet has a long list of beautifully shot films under his belt, including Out of Sight, the Oceans 11 movies, The Informant!, and the Magic Mike films. He usually serves as his own cinematographer; he likes to experiment with form and style. He’s knowledgeable about camera tech and how to match the look of a film to its content.

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