Michael Chambers returns home to celebrate his mother’s marriage. Michael had been ousted from his home town due to his gambling indiscretions and had left his wife to deal with the mess he created. He now must reassimilate back into the town, renew his relationships with his family and friends (and enemies) and, most of all, seek out his ex-wife to woo her again. In the process, he obtains a job working with his mother’s new husband as an armored car driver. He almost seems the perfect prodigal son as he finds his niche back in the community and his way back into his ex’s heart. His troubles surmount when he and his wife are caught in the act by her hoodlum boyfriend/fiancé. To get out of this predicament, Michael must concoct a plan to heist of a payroll being carried by his armored car company. –IMDb
At the age of 26, Steven Soderbergh permanently altered the face of independent cinema when he became the youngest-ever winner of the Palme d’Or at the 1989 Cannes Film Festival for sex, lies and videotape, his feature-film directorial debut. A simmering exploration of the nature of modern relationships and the links between sexuality and voyeurism, the film was an international sensation that established its director as one of the golden boys of world cinema. Born in Georgia on January 14, 1963, Soderbergh grew up in Baton Rouge, LA, where his father was the Dean of Louisiana State University’s College of Education. While still in high school, Soderbergh enrolled in the university’s film animation class and began making short 16 mm films with second-hand equipment. After he graduated from high school, he went to Hollywood, where he worked as a freelance editor. Soderbergh’s time in Hollywood was brief, and he soon returned home, where he continued making short films and writing scripts… read more
Soderbergh's first experiment with fractured timelines; deconstructing different strands of the plot and attempting to put them back together again, 'crisscrossing', like the title of the original film. It's not quite there yet, but it's fascinating to see all the elements at work, as well as the often outstanding use of colour and composition. S.S. refined many of the same techniques in Out of Sight and The Limey.
True, although this always seemed the reason for him to investigate Ocean's Eleven, as a means of perfecting the fractal narrative in respect to audience anticipation (rather than protagonist mind-set). Though, I agree that it does seem much of his experimentation with narrative and story derive from this moment, which always seems like a point of resistance for him, perhaps because of it's link to box office at this point in his career. Fascinating moment in in his timeline.