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Schizopolis
DVD cover of the Criterion release
Directed bySteven Soderbergh
Written bySteven Soderbergh
Produced byJohn Hardy
John Re
Starring
CinematographySteven Soderbergh
Edited bySteven Soderbergh
Sarah Flack
Music byCliff Martinez
Steven Soderbergh
Distributed byNorthern Arts
Release dates
  • May 18, 1996 (1996-05-18) (Cannes)
  • September 13, 1996 (1996-09-13) (TIFF)
  • April 9, 1997 (1997-04-09) (U.S.)
  • March 12, 1999 (1999-03-12) (UK)
Running time
96 min.
CountryUnited States
LanguagesEnglish
Japanese
Italian
French
Budget$250,000
Box office$10,580[1]

Schizopolis (also known as Steven Soderbergh's Schizopolis) is a 1996 surrealist experimental comedy film with a non-linear narrative written and directed by Steven Soderbergh.[2][3][4]

Plot

[edit]

Although the film does not have a linear plot, a structure exists, telling the same story from three different perspectives. At the beginning, Soderbergh speaks to the audience in a style meant to evoke Cecil B. DeMille's introduction to The Ten Commandments.[5]

Fletcher Munson is an office employee working under Theodore Azimuth Schwitters, the leader of a self-help company known as Eventualism. The first part of the film is seen from Fletcher's perspective, seeing the underlying meaning in everything. He pays more attention to meaning, rather than what is said. He shows less and less attention to other people, to the point where he comes home and communicates with his wife by describing what they are saying. When Fletcher's co-worker Lester Richards dies, Fletcher takes his job as speechwriter. His personal life suffers because of this. He becomes more detached from his wife, who copes by having an affair.

Meanwhile, Elmo Oxygen, an exterminator, goes from house to house, bedding the housewives who work for Schwitters. In each house he takes pictures of his genitals using cameras he finds. Elmo and the women speak in a nonsensical code. Fletcher's key will not work in his car door. He looks around to find that his actual car (parked two spots away) is an exact match for the one he is trying to get into. He goes to enter his car when he sees a man who is his exact double get into the car he just tried to enter. Fletcher follows his doppelgänger home, closes his eyes, and becomes him.

Next we follow Fletcher's doppelgänger, Dr. Jeffrey Korchek, a dentist. He always wears a jogging suit. He is also a fan of Muzak, and is the mystery man that Fletcher's wife has been sleeping with. Korchek suggests she leave Fletcher for him.

The next day, Korchek has breakfast with his heroin-addicted brother, who asks to stay with Korchek and for money. Korchek says that his brother should not be dealing with drug dealers and that he can get him drugs. Korchek goes to work, where he meets Attractive Woman Number 2, Mrs. Munson's doppelgänger. Korchek falls instantly in love and writes her a letter professing such. He leaves the note and goes home, where he sees a car in the driveway. It is Mrs. Munson, who has left Fletcher. Korchek admits that he has fallen in love with someone else. Mrs. Munson is upset and leaves.

The next day Korchek gets to work and is confronted by a man who says "Your brother, eight hours, fifteen thousand dollars." Almost all of his dialog consists of these three commands. Korchek goes into the office and finds a letter from a law firm representing Attractive Woman Number 2, who is filing a sexual harassment suit against him. He discovers that his brother has stolen all of his money. Korchek leaves work. Korchek is shot dead. A couple following Elmo approach him, to convince him to stop playing his role in the film, in order to become a star in an action show. Unlike the rest of the film, Elmo's storyline moves forward in time.

Finally we see the perspective of Mrs. Munson. We move through the storyline, seeing her experiences with Fletcher and Dr. Korchek and being a mom. The events are the same but Fletcher and Korchek speak foreign languages, similar to the "generic greetings" from earlier. Once Mrs. Munson leaves Korchek, she reconciles with Fletcher and they go home. Fletcher finishes Schwitters' speech. Schwitters mounts the podium and gives the oration. After acknowledging applause with a "Thank you," Elmo bursts in and shoots Schwitters in the shoulder. Schwitters survives and Elmo is arrested and interrogated.

In a shopping mall Fletcher narrates events from the rest of his life. Then, Soderbergh returns in front of a blank movie screen and asks if there are any questions. After offering several responses he walks offstage as the camera pulls back to reveal he's been talking to an empty auditorium. The film has no beginning or end credits. A man clad only in a black T-shirt appears at the beginning and conclusion of the film, being chased by men in white coats through a field. In the beginning, the T-shirt sports the title of the film; later, it says "The End."

Cast

[edit]
  • Steven Soderbergh as Fletcher Munson / Dr. Jeffrey Korchek
  • Betsy Brantley as Mrs. Munson / Attractive Woman #2
  • David Jensen as Elmo Oxygen
  • Mike Malone as T. Azimuth Schwitters
  • Eddie Jemison as Nameless Numberhead Man
  • Scott Allen as Right-Hand Man
  • Katherine LaNasa as Attractive Woman #1
  • Mary Soderbergh as Document Delivery Woman
  • Trip Hamilton as Dr. Korchek's Brother
  • Ann Hamilton as Schwitters' Wife
  • Rodger Kamenetz as Cardiologist

Production

[edit]

Schizopolis was shot in Soderbergh's hometown of Baton Rouge, Louisiana[6] over a period of nine months,[7] beginning in March 1995, on a budget of only $250,000. Due to Soderbergh's desire to keep the film simple, many people had multiple duties (i.e. David Jensen played Elmo Oxygen as well as being the casting director and key grip) and many friends and relatives were hired in various capacities.

Betsy Brantley, who plays Mrs. Munson, is Steven Soderbergh's ex-wife in real-life. Soderbergh himself took the lead role, instead of hiring a professional actor, in part because, as he said, "There was just nobody I knew that I could make that demand of - come and work for free for nine months whenever I feel like it in Baton Rouge!"[7]

Interpretations

[edit]

Several interpretations suggest that the film is exploring certain themes.[8] One such theme is lack of communication: Munson and his wife only engage in templates of speech, such as "Generic greeting!" and "Generic greeting returned!" Another theme is the idea of social restraint versus internal thought: at Lester Richards' funeral, the priest begins the eulogy "Lester Richards is dead, and aren't you glad it wasn't you?" Interpretations differ greatly and the narrative jokes about its own apparent lack of meaning; at one point in the middle of the film a written message appears on a tree trunk stating "IDEA MISSING."

Reception

[edit]

Release

[edit]

The film premiered at the Cannes Film Festival as a film surprise on May 18, 1996,[9] where it was poorly received. This prompted the filmmakers to add the Cecil B. DeMille inspired introduction and conclusion in the theater as a way to signal to the viewers that the film was "ironical and self-serving".[10] Schizopolis was given a limited theatrical release, as it was considered too odd for mainstream audiences. The film found an appreciative small audience and was included in the Criterion Collection, a specialist DVD distributor, which includes two audio commentaries, one of which consists of Soderbergh interviewing himself for the duration of the film.[11]

Critical reception

[edit]

Reviews of the film were mixed; it received a 70% rating at review aggregator Rotten Tomatoes from 20 reviews,[12] and a "mixed or average reviews" descriptor at Metacritic.[13] Roger Ebert wrote that Schizopolis was "a truly inexplicable film...which had audiences filing out with sad, thoughtful faces".[14] Leonard Maltin gave the film a more favorable rating of three stars out of four, and wrote in his Leonard Maltin's Movie Guide, "A broad-ranging jab at modern society and its ills, its tone arch, its technique one of non sequiturs, and its audience likely to be small. But if you latch onto it early enough, you may find (as we did) that it's fun — and funny — to watch."[15]

References

[edit]
[edit]
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Schizopolis

View on Grokipedia
from Grokipedia
Schizopolis is a 1996 surrealist experimental comedy film written, directed, edited, and starring Steven Soderbergh in dual roles as Fletcher Munson, a disaffected speechwriter for a corporate self-improvement organization, and Dr. Jeffrey Korchek, an ambitious dentist. The film's non-linear narrative juxtaposes mundane suburban routines with escalating absurdities, satirizing breakdowns in personal communication, marital discord, and institutional jargon through fragmented scenes, voiceover monologues, and visual non-sequiturs. Produced on a low budget of about $250,000 over nine sporadic months in Baton Rouge, Louisiana, using Soderbergh's university contacts and minimal crew, it served as a personal respite from mainstream Hollywood pressures following his early successes. Critically divisive upon limited release, Schizopolis garnered acclaim for its bold stylistic risks and intellectual playfulness from some reviewers, while others dismissed it as opaque and indulgent, contributing to its cult status among cinephiles rather than broad commercial appeal.

Background and Development

Personal and Professional Context

Steven Soderbergh achieved early critical acclaim with his debut feature Sex, Lies, and Videotape in 1989, which won the Palme d'Or at the Cannes Film Festival and grossed over $36 million on a $1.2 million budget, establishing him as a prominent independent filmmaker. However, his subsequent projects—Kafka (1991), King of the Hill (1993), and The Underneath (1995)—faced commercial underperformance and mixed reception, contributing to a professional slump marked by creative frustration and financial strain by the mid-1990s. These setbacks prompted Soderbergh to question his approach to studio constraints and narrative conventions, leading him to pursue low-budget, experimental work as a means of artistic reinvention. On a personal level, Soderbergh was enduring the dissolution of his marriage to actress , whom he had met during the production of where she appeared as a supporting character. The couple divorced in 1994 following years of strain, with a final reconciliation attempt occurring just before principal photography on Schizopolis commenced in early 1996. This period of marital breakdown intersected with his career doubts, infusing the film with autobiographical undertones, including depictions of relational disconnection and identity fragmentation, though Soderbergh has described it as a stylized rather than literal reflection. The project's intimate scale—shot on a budget under $200,000 primarily in Baton Rouge, Louisiana, using non-professional crew and locations from his youth—allowed Soderbergh to channel these personal upheavals into unfiltered experimentation without external interference. Schizopolis thus represented a pivotal response to Soderbergh's dual crises, enabling him to reclaim agency through self-financed, guerrilla-style filmmaking that prioritized raw observation over polished storytelling. This context of professional reevaluation and personal turmoil directly informed the film's disjointed structure and thematic focus on communication failures, serving as a exercise that presaged his later commercial resurgence with films like Out of Sight (1998).

Script and Conceptual Origins

Schizopolis emerged from Steven Soderbergh's creative and personal nadir in the mid-1990s, following the critical acclaim and box-office success of his debut feature Sex, Lies, and Videotape (1989), which grossed over $36 million worldwide on a $1.8 million budget, contrasted by the underwhelming reception of subsequent works Kafka (1991) and King of the Hill (1993). These failures prompted a self-imposed creative exile, during which Soderbergh retreated to his hometown of Baton Rouge, Louisiana, to recalibrate his approach to filmmaking through unfiltered experimentation. The script's conceptual core stemmed from Soderbergh's deteriorating marriage to actress Elizabeth Brantley, culminating in their finalized on October 18, 1994, after a brief just prior to principal in late 1995. This personal upheaval infused the narrative with motifs of relational , linguistic disintegration, and identity fragmentation, manifested in the protagonist Fletcher Munson's dual roles as a for a pseudoscientific self-improvement cult and an unwitting assassin, reflecting Soderbergh's frustrations with Hollywood's commodification of communication. Soderbergh has described the project as a necessary purge of accumulated psychic detritus, eschewing conventional structure for a tripartite, Möbius-like form that juxtaposes mundane suburban dysfunction with absurd, Dadaist wordplay and doppelgänger encounters. Written solo by Soderbergh over a compressed period in 1995, the screenplay eschewed traditional outlining in favor of improvisational rigor, incorporating verbatim fragments from real-life dialogues, , and domestic arguments to underscore causal breakdowns in human connection. Produced on a shoestring of approximately $250,000 with a skeleton crew of five associates, the script's execution prioritized raw authenticity over polish, enabling Soderbergh to star as Munson while directing, thus blurring auteurial boundaries in a manner that anticipated his later meta-reflexive works. This origin as a therapeutic, anti-commercial artifact positioned Schizopolis not as a bid for redemption but as an defiant assertion of artistic autonomy amid industry skepticism.

Production

Filming Process

Schizopolis was filmed primarily in , Steven Soderbergh's hometown, during on an estimated budget of $250,000, utilizing donated to minimize costs. The production employed a minimal crew consisting of Soderbergh and five friends, allowing for a highly personal and flexible approach that eschewed traditional Hollywood structures. Soderbergh himself served as director, , lead , , and editor, doubling up roles to maintain control over the experimental . Shooting occurred intermittently over approximately ten months, often on weekends such as Saturdays, rather than a continuous schedule, reflecting the film's status as a self-financed personal project amid Soderbergh's hiatus following commercial disappointments. The absence of a formal shooting script defined the filming methodology, with Soderbergh composing new scenes each day and integrating improvisations from the cast to capture spontaneous, fragmented energy central to the film's surreal narrative. Locations included informal settings such as the homes of crew members and Soderbergh's parents, contributing to a guerrilla-style intimacy that avoided permits and large setups. Cinematography was executed on 35mm film using Eastman EXR 500T 5296 negative stock, processed in color with a 1.85:1 aspect ratio and Dolby mono sound mix, emphasizing raw, unpolished visuals over polished aesthetics. This low-overhead, iterative approach enabled rapid experimentation but resulted in no financial returns for participants, aligning with Soderbergh's intent to prioritize artistic reinvention over commercial viability.

Technical Aspects and Challenges

Schizopolis was produced on a modest budget of approximately $250,000, which constrained resources and required to assume multiple roles, including , director, (uncredited), lead actor, and editor. The film was shot primarily in , utilizing locations to minimize costs. This low-budget approach enabled a guerrilla-style production with a minimal , allowing for rapid, improvised filming that aligned with the film's experimental ethos but introduced logistical hurdles such as securing permits and managing equipment on the fly. Cinematographically, Soderbergh employed handheld techniques and to capture the chaotic, disorienting aesthetic, drawing on his prior experience to handle himself. The production's shoestring nature meant relying on basic 16mm equipment scavenged or rented affordably, which contributed to the raw, unpolished visual texture but risked inconsistencies in exposure and . challenges arose from the non-linear, fragmented , demanding Soderbergh to synthesize disparate footage into a cohesive yet intentionally whole without extensive reshoots. Audio recording posed significant difficulties due to the limited and small , resulting in suboptimal on-set capture that Soderbergh later stylized with overlapping , asynchronous sound, and post-production to evoke communication failures central to the film's themes. Production sound mixer Paul Ledford noted in commentary the improvisational nature of audio work, which amplified post-sync efforts to salvage usable tracks. Overall, these technical constraints prevented financial recoupment—no cast or profited—and tested Soderbergh's ability to innovate within limitations, ultimately refining his command of independent filmmaking processes.

Plot Summary


Schizopolis centers on Fletcher Munson, portrayed by director , a lethargic speechwriter at the Eventualism Foundation, a self-help organization resembling founded by the late T. Azimuth Schwitters. After Schwitters' death on February 14, Munson is urgently tasked with drafting a keynote speech for the organization's , amid suspicions of an internal mole leaking information and external media attacks portraying Schwitters as a cult leader. Munson's professional inertia parallels his crumbling marriage to his wife (), marked by increasingly generic and detached conversations that devolve into surreal non-sequiturs. He receives anonymous calls pressuring him for corporate secrets, while discovering his wife's affair with Dr. Jeffrey Korchek, a who serves as Munson's physical double (also played by Soderbergh) and later pursues another resembling Mrs. Munson. The film's non-linear unfolds in three acts with shifting , incorporating absurd subplots such as exterminator Oxygen's gibberish-laden seductions of housewives, a pantsless elderly man wandering suburbs, and corporate absurdities like plans to convert into a mall. The narrative culminates in a replay of earlier events from Mrs. Munson's perspective, underscoring breakdowns in communication, identity, and suburban normalcy.

Cast and Performances

The principal cast of Schizopolis is led by director , who performs dual roles as Fletcher Munson, a disaffected corporate employed by a Scientology-inspired organization, and Dr. Jeffrey Korchek, an optimistic dentist who becomes romantically involved with Munson's wife. Soderbergh's appearances mark his only starring performances in a feature-length , delivered in a deliberately detached and minimalist style that aligns with the production's experimental ethos and limited budget of approximately $250,000. Betsy Brantley, Soderbergh's ex-wife from 1989 to 1994, portrays Mrs. Munson, Fletcher's estranged spouse, as well as Attractive Woman #2, contributing to the film's themes of relational disconnection through understated, naturalistic delivery. Supporting roles include as Elmo Oxygen, a self-important exterminator; Mike Malone as T. Schwitters, the enigmatic leader of the Event Horizon organization; and as the Nameless Numberhead Man, a surreal figure embodying bureaucratic .
ActorRole(s)
Steven SoderberghFletcher Munson / Dr. Jeffrey Korchek
Betsy BrantleyMrs. Munson / Attractive Woman #2
David JensenElmo Oxygen
Mike MaloneT. Azimuth Schwitters
Eddie JemisonNameless Numberhead Man
Katherine LaNasaAttractive Woman #1
Performances in Schizopolis emphasize improvisation and non-professional acting techniques, reflecting Soderbergh's intent to critique conventional narrative and communication structures rather than showcase polished portrayals. Critics have noted the cast's commitment to the film's anarchic tone, though specific commendations for individual acting are sparse, with focus instead on the ensemble's role in amplifying the screenplay's linguistic fragmentation and identity confusion.

Themes and Interpretations

Language and Communication Breakdown

In Schizopolis, portrays the erosion of interpersonal and institutional communication through disjointed , semantic overload, and linguistic fragmentation, reflecting suburban alienation and existential disconnection. Characters frequently engage in exchanges where utterances fail to align, as seen in the strained conversations between protagonist Fletcher Munson and his wife, who respond with non-sequiturs such as non-contextual declarations or evasive phrases, underscoring a relational void where words no longer bridge understanding. This breakdown extends to Fletcher's professional life at the Event Horizon organization, where corporate devolves into hollow —phrases like "advance the ball" or motivational platitudes that prioritize form over substance, mimicking the emptiness of bureaucratic in modern institutions. A pivotal sequence illustrates language's commodification via a montage of the word "fuck" deployed across mundane, aggressive, and intimate contexts—from a doctor's casual to a lover's exclamation—demonstrating how overuse strips terms of precision and emotional weight, reducing communication to rote signaling rather than conveyance of intent. Soderbergh amplifies this through analogical misfires, as in interactions involving secondary character Oxygen, whose obsessive, metaphorical speech patterns clash with literal realities, highlighting how figurative expression exacerbates isolation in everyday . The film's title evokes a "schizo" , a fractured where psyches and semantics splinter, positioning as both perpetrator and victim of relational collapse. These elements culminate in the narrative's final act, where parallel storylines involving Fletcher's , assassin Dr. Jeffrey Buck, contrast verbal inefficacy with silent, decisive action, implying that true agency bypasses corrupted speech altogether. Critics have noted this as a of how contemporary mangles maternal tongues, fostering barriers to intimacy and comprehension amid routine banalities. Soderbergh's low-budget, improvisational approach—filmed in with minimal crew—further mirrors this theme, as unpolished, overlapping audio tracks evoke the cacophony of failed dialogues in real-time suburban existence.

Autobiographical Parallels and Personal Critique

Schizopolis draws extensively from Steven Soderbergh's personal experiences, most prominently the breakdown of his five-year marriage to actress , finalized in October 1994. Filming commenced shortly after a final reconciliation attempt, on a $250,000 budget in , with Soderbergh casting himself as Fletcher Munson—a speechwriter trapped in corporate drudgery and a rote, communication-starved marriage that echoes his own relational stagnation. Brantley played Munson's , delivering lines of marital grievances that paralleled their real-life disputes, while their six-year-old , , appeared in a supporting role. These elements transformed the film into a raw chronicle of , with Soderbergh likening its origin to content emerging directly from his , compounded by echoes of his parents' separation on January 14, 1983. Soderbergh has offered pointed self-critique of the film's indulgent chaos, noting it "probably crossed the line between personal filmmaking and private filmmaking," veering from absurdist experimentation into overly adolescent territory amid his emotional turmoil. Production tensions, including painful on-set conflicts with Brantley—who participated partly for closure—underscored its unfiltered intimacy, yet Soderbergh maintains that such '90s works, including Schizopolis, were essential missteps in his evolution, enabling him to interrogate his fit within the industry: "In my mind, this was all part of the process that I had to go through to find out what version of the entertainment business I wanted to be a part of." This phase of low-stakes, improvisational output followed commercial disappointments like The Underneath (1995), allowing Soderbergh to reclaim creative agency before mainstream resurgence with (1998).

Release and Distribution

Schizopolis premiered at the on May 18, 1996. The film received a in the United States on April 9, 1997, distributed by Northern Arts Entertainment. It earned a domestic gross of $6,600. distribution was handled by , which issued the film's first DVD edition on October 28, 2003, featuring a new high-definition transfer and supplemental materials including interviews with director . Prior to this, availability was restricted, reflecting the film's experimental nature and minimal initial commercial push.

Reception

Initial Critical Response

Schizopolis premiered at the as an out-of-competition "surprise" entry, where it elicited a muted response including bored walkouts and general indifference from audiences expecting more conventional fare following Soderbergh's earlier success with . The film's experimental style, featuring disjointed narrative, gibberish dialogue, and rapid cuts, confounded viewers and critics alike, contributing to its initial perception as an inscrutable personal vent rather than a cohesive work. In a contemporary review, Variety described the film as a "scattershot" of modern life that "misses more often than it hits," praising sporadic funny moments like linguistic mismatches in marital communication but criticizing its lack of coherent narrative or meaningful ideas, rendering much of it "indecipherable" and akin to an unstructured of frustrations. The trade publication noted its absurdist techniques—such as speeded-up sequences and goofy sound effects—as technically haphazard, suggesting appeal only to a niche audience of adventurous cinephiles requiring specialized marketing. Upon limited U.S. release in 1997, labeled it a "goofy, ineffectual prank" and "dithering ," faulting its convoluted linguistic experiments and feeble musings on marital failure for opacity and self-referential cleverness devoid of broader interest, though acknowledging occasional witty scene recycling and Soderbergh's presence. Similarly, called it "one messed-up movie" aptly titled for its structural disarray, finding narrative coherence sorely lacking despite an underlying appeal in its raw, non-narrative energy. These assessments reflected a broader initial consensus of mixed-to-negative reception, with critics often viewing the film's audacity as pretentious indulgence over artistic merit.

Long-term Assessment and Cult Status

Despite its initial commercial failure and mixed critical response, Schizopolis has undergone a positive long-term reassessment, with retrospective analyses praising its experimental structure, linguistic playfulness, and raw personal insight into Soderbergh's creative frustrations following the underwhelming reception of (1993). Film scholars and bloggers have highlighted its ahead-of-its-time absurdist elements, positioning it as a pivotal, if overlooked, work that bridged Soderbergh's indie roots and later mainstream successes by allowing him to experiment freely on a $250,000 budget shot in . Soderbergh himself has reflected on the film as a therapeutic reset, noting in a 2024 interview that its intense, low-fi production "kicked off a sequence of films that got me back where I wanted to be," crediting it with revitalizing his directorial approach amid career uncertainty. The film's cult status stems from its niche appeal to admirers of avant-garde comedy and Soderbergh completists, evidenced by its inclusion in curated lists of obscure weird cult movies alongside titles like Liquid Sky (1982) and Society (1989). While not achieving widespread popularity, it has fostered a dedicated following through home video releases, particularly the 2003 Criterion Collection DVD edition, which included Soderbergh's journal entries and supplemental materials that contextualized its autobiographical elements and production quirks, thereby elevating its archival value. Ongoing festival screenings, such as its designation as a "cult classic" opener for the 2025 Baton Rouge Film Festival, underscore sustained interest among cinephile communities drawn to its chaotic satire on communication and suburban ennui. This limited but fervent reception aligns with patterns in experimental cinema, where initial opacity yields to appreciation over decades, though its cult remains smaller than expected given Soderbergh's prominence.

References

  1. https://www.imdb.com/title/tt0117561/
  2. https://www.criterion.com/films/740-schizopolis
  3. https://www.moriareviews.com/fantasy/schizopolis-1996.htm
  4. https://366weirdmovies.com/216-schizopolis-1996/
  5. https://swampflix.com/2017/08/31/movie-of-the-month-schizopolis-1996/
  6. https://www.rottentomatoes.com/m/schizopolis
  7. https://www.mirrorboxfilms.com/blog/schizopolis
  8. https://www.latimes.com/archives/la-xpm-1997-02-16-tm-29124-story.html
  9. https://electricshadow.net/column/2013/2/5/soderberghopolis-4-from-grace-to-guns.html
  10. https://www.nathanrabin.com/happy-place/2022/5/26/steven-sodeberghs-joyously-bonkers-1996-experimental-comedy-schizopolis-marked-an-audacious-creative-rebirth-for-its-writerdirectorstar
  11. https://www.the-solute.com/to-schizopolis-and-beyond-a-conversation-on-steven-soderbergh/
  12. https://blueprintreview.co.uk/2012/06/schizopolis/
  13. http://daredaniel.com/2014/02/11/criterion-collection-review-of-the-week-schizopolis-1996/
  14. https://www.japantimes.co.jp/culture/2001/10/24/films/film-reviews/tales-from-the-dark-side-of-soderbergh/
  15. http://old.bfi.org.uk/sightandsound/feature/192
  16. https://www.theguardian.com/film/interview/interviewpages/0%2C%2C424006%2C00.html
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  18. https://www.popmatters.com/steven-soderbergh-interviews-2496242200.html
  19. https://www.criterion.com/current/posts/302-schizopolis
  20. https://www.colorado.edu/gendersarchive1998-2013/2006/05/01/black-and-white-masculinity-three-steven-soderbergh-films
  21. https://www.pajiba.com/underappreciated_gems/schizopolis-review-the-most-important-motion-picture-you-will-ever-attend.php
  22. https://noamkroll.com/9-iconic-feature-films-shot-with-almost-no-crew/
  23. https://www.stage32.com/blog/part-ii-a-kid-who-just-wanted-to-make-movies-and-my-aha-moment-in-schizopolis-126
  24. https://www.imdb.com/title/tt0117561/technical/
  25. https://www.thebeliever.net/an-interview-with-steven-soderbergh/
  26. https://britishcinematographer.co.uk/steven-soderbergh/
  27. https://www.universitypressscholarship.com/view/10.7312/columbia/9780231165518.001.0001/upso-9780231165518-chapter-002
  28. https://archive.thedigitalbits.com/reviews3/schizopolis.html
  29. https://www.imdb.com/title/tt0117561/plotsummary/
  30. https://variety.com/1996/film/reviews/schizopolis-2-1200445720/
  31. https://www.avclub.com/schizopolis-1798226095
  32. http://armchairc.blogspot.com/2009/12/schizopolis.html
  33. https://www.nytimes.com/1997/04/09/movies/no-more-of-this-mayonnaise-and-other-linguistic-teasers.html
  34. https://baseballfordinner.wordpress.com/2009/12/03/some-thoughts-on-interpersonal-communication-and-the-film-schizopolis/
  35. https://splicedpersonality.com/2016/03/04/knight-of-cups/
  36. https://www.imdb.com/title/tt0117561/releaseinfo/
  37. https://www.the-numbers.com/market/distributor/Northern-Arts-Entertainment
  38. https://www.blu-ray.com/dvd/Schizopolis-DVD/23565/
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  40. https://cinemaaxis.com/2014/12/06/the-auteurs-steven-soderbergh-part-1/
  41. https://www.chicagotribune.com/1997/11/21/aptly-titled-schizopolis-is-one-messed-up-movie/
  42. https://www.metacritic.com/movie/schizopolis/
  43. http://stalepopcornau.blogspot.com/2012/02/10-great-moments-from-steven.html
  44. https://letterboxd.com/journal/steven-soderbergh-karlovy-vary/
  45. https://mikegraymikegray.wordpress.com/2018/03/05/10-great-weird-cult-films-to-watch/
  46. https://www.tasteofcinema.com/2017/10-odd-and-obscure-cult-movies-worth-seeking-out/
  47. https://www.facebook.com/photo.php?fbid=1223140266522852&id=100064806697738&set=a.403516191818601
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