Lots of dull opaque talking in "High Flying Bird" to ultimately turn contract negotiations between millionaires and billionaires--not exactly "Norma Rae" (1979) this, let alone worthy of all the salvery references--into Steven Soderbergh's favorite genre, the con or heist flick, which in this case mostly boils down to a character revealing and reveling in how much smarter he is than are others and some message that pertains to a very select number of people, the professional black athlete. Documentary interviews with NBA players interrupt the drama, too, to lend advice to rookie basketballers. Makes me wonder why this is streaming on Netflix and not exclusively at NBA Orientation Days. For whom is this movie supposed to be?
For director Soderbergh himself, perhaps. He's one of the brightest at exploiting the fundamental importance of the cinematographic apparatus within his oeuvre--even being his own cinematographer, editor and so on. His breakthrough film, after all, listed a medium of motion pictures in its title, "Sex, Lies and Videotape" (1989). If anyone is going to make movies with a phone camera that are indirectly about making movies with a phone camera, it'd be him. I haven't seen "Unsane" (2018) yet, being generally not in a rush to see movies shot with an iPhone, but I have seen his latest phone heist of some of Hollywood's top actors, "No Sudden Move" (2021). There, the camera was fit with a distorting wide-angle lens that reflected visually the narrative involving automobiles--and did so by way of the reflective device in cars, the rear-view mirror. It may also allude to the past obfuscation involved in the genre plotting and its historical setting.
It follows, then, that Soderbergh may've shot "High Flying Bird" as a comment on another industry, that of making movies. Nominally, the narrative concerns undermining NBA owners by way of new technology and forms of communication to bring basketball to its fans and, thus, wrestle away control for the players, or their agents. Congruous for an independent movie shot with a mobile phone and released on Netflix, if not for the racial issues it raises as written by Tarell Alvin McCraney (also of "Moonlight" (2016)). He doesn't even show us the film-within-the-film, the one-on-one basketball game, because this isn't about a movie, or the story in it, but about how movies are made. The suggestion is that Soderbergh is changing the way the game, or rather the game on top of the game, is played.
He may be right. The anti-studio, anti-actual-film progenitor of a new era of independent and digital cinema has been before. Hopefully, at least, these phone movies will become better looking--that Soderbergh will not overlook keeping a shaky shot from the table that apparently holds the phone stand being bumped, or a distracting and odd-looking lens flare in another, and get better lenses in general. Everything is in focus in these shots, which is distracting, as anything and nothing consequently become the focus. As if the drama for millionaires weren't already irrelevant enough, too. And, I like meta movies generally, but this one seems overly self-satisfied looking in the mirror--the cinematic equivalent of a selfie.
