★ 4 / 10
A dominatrix and her wealthy client engage in
Louisa Moore - Screen Zealots
A dominatrix and her wealthy client engage in the most elaborate power struggle during one night in a luxury hotel suite in “Sanctuary,” director Zachary…
A dominatrix and her wealthy client engage in the most elaborate power struggle during one night in a luxury hotel suite in “Sanctuary,” director Zachary Wigon’s twisted psychological love story / thriller. The film’s tone is uneven and inconsistent and the direction is lacking, but the two lead performances are terrific.
Hal (Christopher Abbott) is the heir to a major company and will soon be taking over as CEO, which means it’s time to cut ties with the longstanding professional relationship he’s had with a dominatrix, Rebecca (Margaret Qualley). When he tries to break it off with an expensive goodbye gift, she’s not having any of it. This leads to a wild night of sexual game playing and psychological torture, as the power shifts and sexual dynamics converge in a tornado of chaos.
As a viewer, this constant back and forth makes the film extremely frustrating. By the very definition of her profession, Rebecca is a person who holds and exerts all the power over her client. The twist here is that Hal also has a significant amount of power. They both are master manipulators and can control each other on a whim. This aspect of the film becomes more irritating than compelling, especially when it’s impossible to tell who’s telling the truth at any given time.
It’s one big charade. Hal doesn’t think much of himself, as it is made evident in the elaborate, belittling scripts he writes for Rebecca to recite, word for word. She knows he has daddy issues and plays to his weaknesses. His power over her is all about the money. The story loses its edge when Rebecca engages in a bit of blackmail, exposing an unfortunate pettiness from which her character never recovers.
There are some sophisticated ideas about gender and capitalism at play, but they’re drowned out by situations that feel like they were solely added to the screenplay to push buttons or at least garner some uncomfortable, cringey laughter. What begins as a feminist-leaning story transforms into one that’s more off-putting and problematic.
When a film has a cast of just two actors, they better be strong enough to support the material. Thankfully, that’s not a problem here. These are two complex characters, and Qualley and Abbott skillfully embody them. She plays Rebecca as an unconventional therapist of sorts, and he is believable as a broken man with a poor self image.
The dominatrix thriller genre isn’t huge, and “Sanctuary” is well acted and provocative. I found the filmmaking to be amateurish and disappointing however, and this project is unlikely to find a large audience. It’s a festival film and nothing more.
Read full review
★ 7 / 10
A Twisty Two-Hander That Explores Power Dynamics in Relationships
steveinadelaide
Sanctuary has only two actors, and the entire plot occurs inside a hotel room (and very occasionally in the corridor outside the room) over one night. Rebecca…
Sanctuary has only two actors, and the entire plot occurs inside a hotel room (and very occasionally in the corridor outside the room) over one night. Rebecca (Margaret Qualley) is a dominatrix; her client is Hal (Christopher Abbott). They are engaged in a BDSM relationship. The plot is very twisty, and the motivations of the two characters are not revealed to us until the last few moments of the movie.
The performances of Qualley and Abbot are exceptional. There is a deep sexual chemistry between them that is palpable throughout the entire movie. They are complex and flawed characters, and why they behave the way they do is often unclear. This is the intriguing mystery that is the focus of the story.
The direction of Sanctuary by Zachary Wigon is very skilful; he knows how to create a sense of danger within the tightly controlled experiences going on in the claustrophobic hotel room. I found the movie engaging, and I kept guessing until the movie's end. There is hardly any music, and what there is complements the film's tone perfectly. The cinematography is excellent, and the intimate, claustrophobic space of the setting is used to significant effect.
The BDSM theme of the story is a metaphor for the power dynamics that go on in relationships; this symbolism is subtle but effective. Power in relationships is complex, shifting back and forth between individuals who often use it to control others. Sanctuary suggests that power dynamics in relationships are complex and are influenced by gender, wealth, and social status and can have both positive and negative consequences.
Sanctuary is slow-paced, and the controlled chaos that finally leads to what is going on in the relationship can be frustrating. But the delayed gratification is worth it, and the story's last moments are satisfying. The dialogue is witty and engaging, and the banter between the two characters reminded me of some of the old-fashioned screwball romantic comedies we used to watch.
Sanctuary is a well-made film, and it was engaging. However, the circular nature of the dialogue and the late reveal at the end made the journey there often frustrating. This is the biggest problem with the movie; it would have been easy to give up well before the end. I'm glad I persevered, but the movie's enjoyment is mostly in retrospect. I suspect many viewers may give up before seeing the worthwhileness of the film and the point of it all in terms of the theme of power dynamics in relationships.
Sanctuary is for those who enjoy character-driven dramas and twisty plots. However, the slow pace and limited setting may not be for everyone. Additionally, the BDSM theme may not be suitable for all audiences.
Read full review
88%
TOMATOMETER
· 92 reviews
83%
AUDIENCE
· 500 ratings
6.2/10
13.6K
•••
great film-making, very thought-provoking concept. yes, it will piss certain people off.