But where McCraney errs is in the structure of the narrative, which conceals what’s actually going on until the last minute, for a twist that doesn’t really pay off. Ray’s big plan to get everyone working again is so convoluted that I will not attempt to explain it here — just know that part of it involves an orchestrated Twitter feud, a viral video and a meeting with Netflix, which all feels authentically 2019. But despite its wackiness — or perhaps because of it — it’s a scheme that feels very rooted in reality, a vibe that’s underscored by the cinematography. The film joins the handful of projects (including Sean Baker’s Tangerine, and Soderbergh’s last project, Unsane ) that have been shot entirely on an iPhone, a technique that’s so far been hit or miss, but works here. Credited for cinematography and film editing under the aliases Peter Andrews and Mary Ann Bernard Soderbergh’s camera brings the backroom deals in swanky, high-rise bars to life in all their mood-lit, buttery leather seats glory, in stark contrast to the meetings in bland corporate offices, or even the sharp lighting of a community basketball court.