'Sanctuary' Review: Margaret Qualley and Christopher Abbott Shine in Sexy BDSM Battle of Wits
Sanctuary
R: Sexual content and language
Runtime: 1 Hour and 36 Minutes
Production Companies: Rumble Films, Charades, Mosaic Film, Hype Film
Distributor: NEON
Director: Zachary Wigon
Writers: Micah Bloomberg
Cast: Christopher Abbott, Margaret Qualley
Release Date: May 19, 2023
Exclusively in Theaters
Set throughout one night in a single hotel room, Sanctuary tells the story of a dominatrix, Rebecca (Margaret Qualley), and Hal (Christopher Abbott), her wealthy client. About to inherit his late father's position and fortune, Hal tries to end their relationship, but when his attempt to cut ties backfires, disaster ensues.
While scrolling through the TIFF lineup to find small movies for my watchlist during my tenure at the festival, Sanctuary instantly caught my eye. Margaret Qualley playing an unhinged dominatrix to a cuckold millionaire played by Christopher Abbott? Who went into the most intrusive area of my brain and ripped this idea out?! I was so adamant about seeing this film that when I missed the initial press screening, I extended my trip so I could attend the second screening. After viewing Sanctuary at 8:30am, all I have to say is:
He was an heir. She was a dom. Can I make it any more obvious? Director Zachary Wigon invites you into the perverted business relationship Rebecca and Hal share. Set in the room of a luxurious five-star hotel, the two are isolated in a bathroom. Hal is half naked on the floor, scrubbing a toilet. Rebecca, in a business suit and blonde wig, watches from a chair and directs Hal while reading a pre-written script. Their session is bizarre yet horny, which eases you into the overall atmosphere of the story.
After their session, Hal informs Rebecca that he's firing her because he has to take the reins as successor to his dad’s hotel company. Rebecca doesn’t take the news lightly. In retaliation, she uses every card in her pocket to retain her position in dark, twisted ways.
Sanctuary’s single set location can make its premise fall into the trappings of a stage production where the film’s theatrics are transparent. Wigon, screenwriter Micah Bloomberg, and performers Christopher Abbott and Margaret Qualley challenge themselves in their respective roles to create a thrilling experience that not even a stage can contain. Wagon makes the most of the hotel room, playing with the space with stylish camerawork to capture a claustrophobic atmosphere. The camera often pans around, showing who is currently wearing the crown during their quarrel… and it’s usually Rebecca.
Bloomberg’s screenplay plays like a Succession fanfiction––Roman’s perversion mixed with the woefulness of Kendall would give you Hal––but hits its mark. Bloomberg treats his leads as Russian Dolls, starting from their most hostile point, then stripping them down to their most vulnerable state as the night progresses. The narrative is meticulously-paced and properly peels back the leads’ layers, exploring the true colors that lie beneath. The sharp, dark, and witty dialogue also elevates the mood and fluidity of their conflict. The two spout some of the most fucked up things, yet some of them warrant a belly laugh. Never does he paint Rebecca’s sex work in a negative light, nor does he vilify her for being a dom. Hal says something like, “Your work is very valuable,” which might be the first time I’ve heard a male character speak of sex work in a positive manner. He flashes his wealth to put Rebecca in her place and hurls insults at her behavior, but he never vilifies her occupation.
Qualley and Abbott understood the assignment and slayed with their performances. The two share magnificent chemistry through their range from combatants to sexual partners. Qualley’s Rebecca does the runaround on Abbott’s Hal, showcasing her Bugs Bunny side as an agent of chaos. Qualley’s confidence and headstrong personality kept me hooked. Her energy in movement and line delivery keeps you on your toes, especially when she dives into a dark and twisted territory.
Abbott delivers an enticing blend of translucent fragility and sullenness to Hal. He is reactionary to Rebecca’s disturbing mind games, but said reactions are pricelessly human. The two have different decks of cards, and Qualley’s stronger hand makes you sympathize with the spoiled rich kid (a sentiment one hardly ever feels).
Sanctuary is twisted and sexual and it’s 100% my shit. Sadly, the last five minutes of the film reach a Disney-esque resolution that I still can’t wrap my head around. I cackled at the absurdity of the resolution where the tone rips the bandaid off and becomes too light. The grounded atmosphere within the hotel elevates the film's engagement, but once they finally leave it turns into a straight fantasy. This might be a nitpick rather than a criticism. Other than that, holy shit this movie rules.
Bolstered by stylish direction, fantastic lead performances, and a sharp screenplay with wit and thrills, Sanctuary is a twisted horny movie for horny sickos, making it one of my favorites from TIFF. Its refreshing commentary on class and sex is well-executed, depicting the kinkiest power struggle ever. Sanctuary is a total edge-of-your-seat thrill ride that will constantly make you say:
