ONE of the most striking things about Steven Soderbergh’s proudly pulpy new thriller, “Unsane”, is that the end credits last about 20 seconds. In place of the usual ten-minute inventory of assistants, visual-effects companies and catering armies, there is just a short list of names—and at least one of those is the director’s own alias. Under the pseudonym of “Peter Andrews”, Mr Soderbergh shot the whole of “Unsane” on an iPhone. Such technological experiments are what we have come to expect from him. When he made “The Good German” (2006), which was set in the 1940s, he used only camera lenses which were available at the time. “Mosaic”, a recent project , made use of an app to experiment with branching narratives. But it’s still not entirely clear why the man behind such glossy blockbusters as “Ocean’s Eleven” (2001) should have eschewed big crews and expensive cameras on this particular project—and the pictures on screen aren’t always entirely clear, either. At a time when television dramas look so sumptuous, is it wise to make a feature film that looks so cheap? Mr Soderbergh seems to have reversed Michelle Obama’s motto to come up with his own cinematic strategy: “When […]