Steven Soderbergh & The Art of Voyeuristic Film in Full Frontal

Full Frontal is easily Steven Soderbergh’s least loved film. Not only did it follow the well-received Traffic and Ocean’s Eleven, but it also somewhat falsely advertised itself as a “sequel” to Sex, Lies and Videotape. Objectively speaking, its clunky, documentary-style aesthetic, paired with an often thin plot is what off-puts …