Two people. One setting. Lots of dialogue. If it sounds like “Sanctuary” was made for the stage, it did begin as a one-act play by writer Micah Bloomberg. However, under Zachary Wagon’s direction, the story about a dominatrix (Margaret Qualley) and her submissive (Christopher Abbott) is purely cinematic thanks to the powerhouse performances by the two actors and the first-rate script. The dark comedy is wicked fun as the dynamic shifts and a power struggle ensues. Lines are blurred leaving the audience wondering where the fantasy ends, and the reality begins.
In the opening scene, a woman in a blonde wig, dressed professionally, knocks on the door of a luxury suite at the Porterfield Hotel in Denver. Her name is Rebecca (Qualley). She carries a briefcase that contains a questionnaire for the suite’s occupant Hal Porterfield (Abbott) a millennial who is about to inherit his family’s hotel chain. He lets her in, makes himself a cocktail, then sits down at the table to answer a series of questions about his personal life.
It’s understandable when you’re about to become the CEO of a billion-dollar company that a few legal questions may be in order. Rebecca claims to be with a law firm that has been hired by the Porterfield Board of Directors to vet the candidate for his new leadership role. Questions about his height, weight, and age seem like standard protocol, but quickly the interview becomes invasive as Rebecca asks Hal how old he was when he lost his virginity. Doubtful that it’s one of the questions, he reluctantly answers 13. She calls him a liar and remarks it was more like 25.
Is Rebecca vetting Hal for his new job, or is she trying to ascertain if he’s a replicant? She doesn’t throw out any hypotheticals, as in “You’re in a desert walking along in the sand, when all of a sudden you look down and see a tortoise,” but like a harsh CIA interrogator, her query gets tougher, this time asking Hal about doing drugs, his excessive drinking, and if he’s contracted any sexually transmitted diseases. Hal remarks “This is not what I wanted,” and accuses Rebecca of deviating from the script. You see, she’s a high-priced dominatrix who is hired by Hal on a regular basis for a little role-playing and all the perks that come with it. He writes the scripts; she humiliates him, and they order room service.
Tonight is different. Hal remarks, “It’s gonna be so weird to not have this part of my routine anymore.” Rebecca looks confused and asks, “What do you mean?” Hal goes on to explain that his new CEO job is a really big deal and so he doesn’t think it’s a good idea for them to “keep doing this.” As a parting gift, Hal gives Rebecca a $30,000 watch.
So far, it’s all been fun and games. Rebecca goes off script, Hal gets upset, she makes him strip and clean the bathroom floor, he complies, she calls him “garbage,” he agrees, and she rewards him with a sexual favor. Rebecca does all this while remaining clothed and dressed in a suit as if she’s Madonna in the “Express Yourself” video. Boss moves.
Playtime is over. Rebecca isn’t happy with Hal’s decision to end their arrangement, and she feels he owes her more than an expensive timepiece. Qualley is intoxicating, delivering a masterclass performance. When she’s not dispensing piercing stares, the audience is left hanging on her every word. “You wouldn’t be able to do it without what I taught you,” she remarks, referring to his new CEO position. “Your insane” comments Hal as the tension escalates from 0 to 100.
Abbott is terrific as the submissive Hal. The actor is proficient at reserved performances, he always plays his role a tad withdrawn. Here we get to see him outside his comfort zone several times as Hal loses his temper when Rebecca threatens to blackmail him, “You f—ing nutjob” he comments after she claims to have secret videos of their sessions. “Please don’t ruin my intolerable, pointless life,” he begs. Abbott has been in a similar situation before, starring in Nicolas Pesce’s excellent 2019 thriller “Piercing” which also involves a hotel room and a sex worker (played by Mia Wasikowska).
Just what does Rebecca want? A baby, half of Hal’s salary, maybe the Porterfield CEO position? All are mentioned in the volatile third act which features Rebecca holding a knife to Hal’s throat and Hal turning the tables by tying Rebecca to the bedpost. What makes the film even more compelling is the fact that we’re never sure if Rebecca is still playing a game or if she is being serious. At one point Hal screams, “Sanctuary, Sanctuary, the safe word is Sanctuary!”
Ludovica Isidori’s striking cinematography features extreme close-ups, a roaming camera with interesting shots from various angles, and beautifully lit scenes; the glow of lamps enhances the film’s sexual overtones.
Manipulation is the name of the game in Zachary Wagon’s sophomore feature. “Sanctuary” is a wild ride with masterful performances by Margaret Qualley and Christopher Abbott.
(4 stars)
Now showing in theaters
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