Sanctuary

This is a terrifically nasty thriller about seizing control, over others and over oneself. Wigon proves to have a great grasp on it, as well; his assuredness is half of the film’s success.

It is a character study that creeps up on you, deploying well-timed darker comedic moments that set up the cutting dramatic ones all the better. There is no pretentiousness or ego to either of the stunning performances, ensuring we are hit with the maximum impact of a maniacal masterclass of acting from Abbott and Qualley.

By focusing on the shifting dynamics between our two characters and nothing else, viewers are treated to a cat-and-mouse game where its players refuse to let up. With the infectious energy of Qualley and Abbott, along with set-altering cinematography and a tight script, there is a lot to love about this new, sick take on the sex comedy.

This is a film fueled by writing and performance. Writer Micah Bloomberg’s script ingeniously incorporates the movie’s themes into its structure, and Qualley and Abbott—but especially Qualley—playfully keep the audience guessing throughout.

Abbott and Qualley unload everything from physical to emotional to psychological abuse, both roles desperate to solidify their respective superiority and restore the status quo. Rediscover balance by admitting their desires. Who knows? They might just fulfill them too.

Although Sanctuary is stylish and initially intriguing, it’s eventually a real chore to spend an entire feature-length film (even with a relatively brief running time of 96 minutes) with two boors who are also kind of boring, despite all the histrionics and fang-baring and manipulative mind games. They find themselves and each other a lot more interesting than we do.

After 96 minutes with these people, you’ll care even less than you do now.

A man (Christopher Abbott) is about to inherit the leadership of his father's hotel chain. That's why he decides to end his affiliation with his dominatrix (Margaret Qualley). Things get more intense when she threatens to expose him to the board. Before you get too excited, the actual kinky moments are minimal. This is a two-person drama set in one hotel suite. Their interactions range from sweet to threatening and both actors handle the complex emotions richly. The premise is simple, so director Zachary Wigon has kept the tension intense and writer Micah Bloomberg (one of the creators of Homecoming, explores the subject with intelligence and surprises. This is more about psychological connections and business politics than sex and the duos' deeply resonant performances keep it compelling.

Pretty fun and tense at times. If felt like it was trying to be great super smart and not quite getting there. Qualley's performance kinda epitomises this in the sense that she seemed to be going for the unhinged greatness of Mia Goth, but I think she just falls short of that level (still very very good though!). I thought the ending was weird. It was fine enough but I would have gone for perhaps a more ambiguous tone that was more fitting with the rest of the movie, and I'd definitely have made a different musical choice (too on the nose for me). I won't say more about it to avoid spoilers. The more I think about it, the more I think the right ending could have really elevated this film. Shame. I appreciate that the film aimed high, so I have some affection for it.

Margaret Qualley and Christopher Abbott star in this sleek and sexy cat and mouse film about a man who attempts to break things off with his dominatrix he's been seeing regularly as he prepares to inherit the business and vast fortune of his late father's hotel empire. However, unfortunately she's not willing to part ways with him so easily as she attempts to get in on his wealth through blackmail, seduction, and other tactics in this confined battle of wits. Set entirely in a penthouse hotel room, the result is a very dialogue-driven film that gives us witty back and forth banter between the two leads as they spend the entirety of the film trying to outwit the other. Some moments seem implausible and I will say that the ending felt a little forced and somewhat absurd, but Qualley and Abbott's electrifying performances and chemistry were often enough to keep me plenty hooked and invested to see who would end up on top (no pun intended.) Overall, a pretty smart but also at times ridiculous script (particularly that tacky ending) and razor sharp performances from the two leads make for a pretty fun and compelling watch.

O uso do espaço lembra bastante "Boa sorte, Léo grande", mas dessa vez os papéis de gênero se invertem: o homem, mas endinheirado, contrata a jovem para momentos de prazer, mas regados a jogos de encenação. Não deixa de ter seus bons momentos, mas o texto é muitas vezes irritante e infantil, com pitadas além da conta (as cenas quebrando tudo, por exemplo), enfraquecendo a naturalidade. No entanto, diverte bem, e até mesmo a solução final, já sentida, é eficaz.

I'm sorry, but this was short film material. The structure is so obsessed with the notion of moving the goalpost for the sake of length that most of its plot flaws come to light fairly early on. Especially its blatant idea of believing it's telling something smarter and wittier than it really is. Kind of like the Dunning-Krueger effect turned into a movie screenplay. Sanctuary lacks intimacy and depth and, in my opinion, those two elements were key to the story it clearly wanted to tell. Both actors were fine though.