Those enticed by this
film’s provocative title and expecting a salacious movie experience will
be surprised to learn that this is instead a study of relationships in
contemporary Los Angeles. As a director, Steven Soderbergh tends
to alternate big budget, mainstream products, such as Erin Brockovich
(2000) and the remake of Ocean’s Eleven (2001), with the odd digression
into low budget, experimental pieces like Schizopolis (1996) and
The Limey (1999). Superficially linked to Soderbergh’s debut
feature Sex, Lies and Videotape (1989), Full Frontal focuses
on a group of actors and their friends, relatives and colleagues in L.A.
as they prepare to attend the party of a film producer. As we watch
the characters going about their lives, the film alternates between ‘real’
life and a movie within a movie ‘Rendezvous’, which echoes many of the
characters and events that we see in the ‘real world’.
Although Full Frontal
is packed with a top-notch cast (including Julia Roberts, David Duchovny,
Mary McCormack, Catherine Keener, David-Hyde Pierce, Blair Underwood and
the hilarious Nicky Katt), along with numerous cameos and movie in-jokes,
this is not a self indulgent love letter to, or sensational expose of,
Hollywood. Instead, it’s another Soderbergh film that puts personal
and professional relationships (especially marriage, a common focus of
Soderbergh’s films) under the microscope. Full Frontal is something
of a companion piece to Sex, Lies and Videotape, but the difference
here is Soderbergh is now the Hollywood insider, and the characters are
all, in some way, linked to Hollywood. While Full Frontal
isn’t as wildly experimental as something like Schizopolis, Soderbergh
still has fun playing with film and digital video formats (Soderbergh,
using the pseudonym ‘Peter Andrews’ was the film’s cinematographer) and
overturning narrative (specifically, romantic) storytelling conventions.