Worth: $13.50
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Margaret Qualley, Christopher Abbott
Intro:
… hands down, one of the most promising opening acts to a film this year.
A battle of wits ensues at a lavish New York apartment between a dominatrix (Margaret Qualley) and her regular client (Christopher Abbott). The client is inheriting his father’s hotel chain, but in order to accept this responsibility, he feels that he has to close ties with his domme, Rebecca. Closing it off with one final night and gifting her with an expensive watch as compensation, Rebecca feels exploited as she believes that she has played a part in his rise to success. She demands a portion of his first year salary, which then spirals into a night of double crossings, manipulation and intimidation.
Sanctuary has, hands down, one of the most promising opening acts to a film this year. Its first thirty minutes are genuinely masterful in how to introduce a world, the characters and the dramatic stakes at play. The roles of dominant and submissive are brilliantly incorporated into the early stages of the story, with expectations reversed at every turn. Christopher Abbott plays a man who seems to be the one in control, having written the script that Rebecca is following, until the domme pulls the rug from right underneath him, taking full authority of the room.
To say that Margaret Qualley dominates the film (pun fully intended) is an understatement. She gives one of the year’s best performances as a woman shrouded by mystery, but who is confident, beautiful and intimidating. Comparisons will definitely be made to Glenn Close’s iconic role in Fatal Attraction, but Qualley creates a fantastic character all of her own. Every controlled stare, bite of her lip, wicked laugh and intimidating dance move (yes, there is a wild dance sequence) is played to perfection.
Not to discount Abbott’s contribution, as he makes for a great counterbalance, as a very relatable and engaging character who could’ve easily fallen into just being a pathetic worm if it wasn’t for Abbott’s texture and detail.
Sanctuary is also a surprising visual feast for a story set in one location. There is an expert use of colour (reds, blues and greens) and the camera is having a lot more fun than one would expect. It’s a genuinely beautiful looking film.
The film starts off with a bang, but the further it descends into the madness of the situation, it starts to rely too much on cliches. What could’ve ended up as an empowering look at this type of relationship and connection, starts to transform into just another creepy stalker thriller a la Hard Candy or Misery; this narrative change isn’t fully earnt by the film.
As a result, Sanctuary sadly ends on a whimper. Don’t be surprised if you feel like uttering the safe-word before the end credits roll.
