Undeterred by armed soldiers, evasive politicians, and riot police, journalist Amy Goodman has reported some of the most consequential stories of our time. Steal This Story, Please! is a gripping portrait of the trailblazer whose unwavering commitment to truth-telling spans three decades of turbulent history. From the frontlines of global conflicts to the organized chaos of her daily news show Democracy Now!, Goodman broadcasts stories and voices routinely silenced by commercial media.

Oscar-nominated filmmakers Carl Deal and Tia Lessin (Trouble the Water, The Janes) take us behind the scenes with the warm, wisecracking granddaughter of an Orthodox rabbi — raised in a tradition of asking hard questions – as she navigates a news landscape reshaped by technology, corporate consolidation, and political assaults on the press – and on truth itself. Urgent, provocative and unexpectedly funny, Steal This Story, Please! is both a call to action and a celebration of resistance, posing the question: what happens to democracy when the press surrenders to power?

“Steal This Story, Please! makes a strong case that a plurality of independent outlets and more journalists, not fewer, are vital to a healthy democracy — and that without a revitalization of the independent press, we may lose the ability to discern the truth altogether. – Alissa Wilkinson, The New York Times

“Steal This Story, Please! offers a great argument that honest, fearless coverage can happen and is happening. There are ways to get the full story. It’s out there, and what a gift it is that Amy Goodman is part of presenting it to the world.” – Leslie Combemale, Alliance of Women Film Journalists

“Goodman’s story offers a compelling reminder that smart, honest, and accurate reporting is a duty, not a business.” – Pat Mullen, POV Magazine

“Stirring… Rousing, urgent” – Lee Marshall, Screen International 

“A lot of fearless gumption, and one giant finger to the man.” – Lauren Wissot, Filmmaker Magazine

“For folks who believe no honest, well balanced coverage exists, this documentary would beg to differ.” – Leslie Combemale, Alliance of Women Film Journalists 

“A film that could have settled for being a masterclass in technique, but instead goes deeper, exploring questions of artistry, authorship, legacy.” NPR

“Had The Christophers just been a cross-generational punch-up, the sort of flinty showdown designed to throw off pleasurable sparks, you’d still walk away content. It remains a conduit for two of the best performances you’ll see all year.” – David Fear, Rolling Stone

“The Christophers is largely a comedy, but it’s also about all that we gain and lose with age, and about how we sometimes need young people to bring us back to ourselves.” – Stephanie Zacharek, TIME

“Having lost the inspiration that guided him to greatness, Julian is an artist who can no longer paint, and Lori is an artist who has lost all confidence in there being a place for her work in the larger world. For all the undercurrents about fame, commodification, and reputation that flow through The Christophers, at its core is a more plaintive lament about what it feels like to love something that doesn’t love you back.” – Alison Willmore, Vulture

“Go see The Christophers. Show up, and support a tiny, talky experiment that has no relationship to IP or sequels or box-office projection. It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.” – Elizabeth Weitzman, Time Out

“The Christophers is a work of criticism that deftly distinguishes different approaches to criticism.” ­– Justin Chang, The New Yorker 

“Brims with hilarious dialogue, lightly satirical observations of a culture that treats art as a commodity, and satisfying payoffs to a number of story elements planted early on.” – Seth Katz, Slant Magazine

“In the end, this film about artists becomes a work of art in its own right. The more you look at it, the more its many components reveal themselves to you.” – Chase Hutchinson, The Wrap

“Ian McKellen plays Julian Sklar, a sardonic art legend who meets his intellectual match in frank preservationist Lori Butler (Michaela Coel). In a test of wits and wills held mostly in a single-setting, Soderbergh pushes both characters to return to their former passions through philosophical conversations that reflect his own career.” – Robert Daniels, Screen International

“It bats about ideas pertaining to art, commerce, ownership and legacy with dexterous aplomb and boasts two equally superb leads who make the material crackle.” – David Rooney, The Hollywood Reporter

“The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.” – Benjamin Lee, Guardian

“There’s no room for anything shy of genius in The Christophers, a crackling original drama about artistic legacy in all its facets, directed by Steven Soderbergh , from a script by Ed Solomon (No Sudden Move) and starring two top-notch English actors of wildly different backgrounds and styles, Ian McKellen and Michaela Coel, at the top of their respective games.” – Peter Debruge, Variety

“With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American Cinema’s most inimitable, and adventurous, auteurs. – Nick Schager, The Daily Beast