Sanctuary: A tense power struggle fueled by electrifying performances

The close-up lingers as a blond-wigged Rebecca (Margaret Qualley) bites down on Margaret Qualley’s bare shoulder, a smile playing on her lips. It’s a moment that encapsulates the intoxicating push-and-pull of Sanctuary (2023), Zachary Wigon’s claustrophobic thriller that traps its two leads in a high-stakes game of power and control.

What it is: Qualley plays Rebecca Marin, a dominatrix who has honed her wealthy client Hal Porterfield (Christopher Abbott) into a cutthroat businessman. Their dynamic takes place almost entirely within the confines of a hotel room, where Hal attempts to sever their professional relationship. The film’s premise—two people locked in verbal and psychological combat—sounds like it could easily overstay its welcome, but Wigon’s tight direction and the electric chemistry between Qualley and Abbott keep the tension simmering.

What works: Qualley and Abbott are the film’s undeniable strengths. Their performances are nuanced and layered, each bringing a different kind of intensity to their roles. Qualley’s Rebecca is coolly calculating, her every move deliberate. She’s a woman who has mastered the art of control, using her wit and charm to manipulate those around her. Abbott’s Hal, on the other hand, is a bundle of nervous energy, his desperation palpable. He’s a man trying to break free from the chains that bind him, even if he doesn’t quite know how.

The script gives them plenty to work with, filled with sharp dialogue that crackles with tension. The back-and-forth between Rebecca and Hal is a masterclass in verbal sparring, each line dripping with subtext and double meanings. It’s a testament to the writing that even when the characters are simply sitting across from each other, the air is thick with unspoken thoughts and unresolved conflicts.

The film’s exploration of themes like control and trust is also compelling. Beneath the surface-level dom-sub dynamic, Sanctuary delves into deeper questions about power dynamics in relationships and the lengths people will go to maintain their autonomy. The single-location setting forces the audience to focus on the performances and the dialogue, making every word and gesture feel significant.

Wigon’s direction is also noteworthy. He uses the confined space of the hotel room to his advantage, creating a sense of claustrophobia that mirrors the psychological tension between the characters. The camera work is intimate, often lingering on close-ups of the actors’ faces as they react to each other’s words. This choice serves to heighten the emotional stakes, drawing the audience in and making them feel like they’re part of the conversation.

What falters: While the film’s premise is engaging, it does occasionally feel like it’s treading water. The pacing drags in places, particularly in the film’s second act, where the back-and-forth between Rebecca and Hal begins to feel repetitive. Some of the twists and turns also feel a bit predictable, undercutting the tension that the film has worked so hard to build.

Additionally, while the performances are strong, the characters themselves can feel one-dimensional at times, particularly Hal. His motivations aren’t always clear, and his actions sometimes feel inconsistent with the character that’s been established. This is a shame, as Abbott’s performance deserves a more fully realized character to sink his teeth into.

The film also struggles with its tone. At times, it feels like a psychological thriller, but then it veers into darker territory, making it difficult to pin down exactly what kind of movie it’s trying to be. This tonal shift is most noticeable in the film’s third act, where the stakes suddenly escalate in a way that feels somewhat abrupt.

Verdict: Sanctuary is a compelling watch, thanks in large part to the stellar performances from Qualley and Abbott. It’s a film that asks big questions about power and control, even if it doesn’t always have satisfying answers. The direction is tight, the dialogue is sharp, and the exploration of its themes is thought-provoking. However, the pacing issues and tonal shifts prevent it from reaching the heights it so desperately wants to.

It’s a film that will likely resonate most with fans of psychological thrillers and character-driven dramas, particularly those who enjoy exploring the complexities of power dynamics in relationships.

Tags: dramas, Margaret Qualley, Christopher Abbott, Sanctuary, Danita Battle, Zachary Wigon