sex, lies, and videotape (1989)

The review lauds the Criterion restoration of Soderbergh's debut and its themes of media as both connection and alienation. It praises the film's controlled austerity, sensual completeness, and interrogation of truth versus performance.

The critic calls the film the funniest and saddest American movie in years and possibly the most compelling, praising its elegant revelation of contemporary sexual afflictions and tranquil spell. Soderbergh’s manner of pushing characters into deeper psychological waters is highlighted as a key strength.

The critic praises the film as a penetrating, moving, and darkly funny independent feature that offers witty but touching insights into modern relationships through its characters' inner workings. They single out the layered performances, particularly those of Peter Gallagher, Andie MacDowell, Laura San Giacomo, and James Spader.

The critic hails Soderbergh’s debut as an astonishing, richly layered tale of sexual greed, fear, love and betrayal that surpasses its advance praise. Graham’s video camera is singled out as a central player in this intricate dance of truth, self-denial and deception.

The review praises the film as a sexy, nuanced, beautifully controlled examination of erotic impulses and inhibitions. It highlights the absorbing conversations about sex and the strong production values despite the low budget.

The review celebrates the film's impact on indie cinema while praising its compact, idea-packed story of sexual and emotional dysfunction in Baton Rouge. It singles out James Spader's enigmatic performance and the film's prescient take on technology and intimacy.

The critic finds the film startling in its handling of taboo subjects like adultery and voyeurism through 1980s technology, and startlingly competent as a debut that won the Palme d'Or. The believable characters and Soderbergh's intriguingly intellectual script are singled out for praise.

The piece revisits Soderbergh's debut as a landmark indie that launched careers and reshaped Sundance and Miramax. It highlights the film's intimate, talky exploration of sex, lies, and emotional disconnection.

The critic finds the film intelligent and never boring but more clever than enlightening, with more intelligence than heart. He singles out the performances of James Spader and Andie MacDowell and the way conversation becomes erotic.

Soderbergh's debut is impressively mature, focusing on the gap between actions and motivations rather than sensationalism. The strong performances and perceptive dialogue make it intellectually and emotionally stimulating.

The review describes the film as a smooth, handsome first feature that generates psychological tension from very little, essentially a triangle drama with a minor kink. It ultimately reduces to dubious truisms about honesty and getting in touch with one’s feelings.

Soderbergh subverts the libidinous trappings of sexed-up cinema to expose souls in pain and the psychology behind erotic impulses, turning apparent archetypes into dysfunctional individuals seeking real intimacy. The film respects characters' privacy by not showing the climactic sex act, making a case for intimacy as too personal to be fully captured on camera.

Soderbergh's debut is a prescient examination of sexual anxiety and its ties to media that rejected glossy 1980s aesthetics and captured Generation X aimlessness. It kickstarted the 1990s indie boom while remaining relevant for its portrayal of repressed intimacy and voyeurism.

The film is described as one of the quietest splashes in Hollywood history and a psychologically driven indie that eschews sleaze for a more thoughtful experience. It spearheaded the independent film movement of the 1990s and laid groundwork for later auteurs.

The critic calls it a hugely impressive first feature that launched the independent film craze and won the Palme d'Or. She singles out the strong script and performances for praise while noting technical limitations from its low budget.

The film was instrumental in launching the modern independent film scene, boosting Sundance, elevating Miramax's marketing strategies, and launching Soderbergh's career. Its success model helped define the indie film's potential for critical acclaim and financial returns.