sex, lies, and videotape (1989)

The critic finds the film startling in its handling of taboo subjects like adultery and voyeurism through 1980s technology, and startlingly competent as a debut that won the Palme d'Or. The believable characters and Soderbergh's intriguingly intellectual script are singled out for praise.

The review describes the film as a smooth, handsome first feature that generates psychological tension from very little, essentially a triangle drama with a minor kink. It ultimately reduces to dubious truisms about honesty and getting in touch with one’s feelings.

The critic calls the film the funniest and saddest American movie in years and possibly the most compelling, praising its elegant revelation of contemporary sexual afflictions and tranquil spell. Soderbergh’s manner of pushing characters into deeper psychological waters is highlighted as a key strength.

The critic praises the film as a penetrating, moving, and darkly funny independent feature that offers witty but touching insights into modern relationships through its characters' inner workings. They single out the layered performances, particularly those of Peter Gallagher, Andie MacDowell, Laura San Giacomo, and James Spader.

The critic hails Soderbergh’s debut as an astonishing, richly layered tale of sexual greed, fear, love and betrayal that surpasses its advance praise. Graham’s video camera is singled out as a central player in this intricate dance of truth, self-denial and deception.

Soderbergh's debut is impressively mature, focusing on the gap between actions and motivations rather than sensationalism. The strong performances and perceptive dialogue make it intellectually and emotionally stimulating.

The critic calls it a hugely impressive first feature that launched the independent film craze and won the Palme d'Or. She singles out the strong script and performances for praise while noting technical limitations from its low budget.