By Chlotrudis Independent Film Society
Rating: 4 cats
Director: Zachary Wigon
Starring: Christopher Abbott | Margaret Qualley
Country: united_states
Year: 2022
Running time: 96
IMDB: https://www.imdb.com/title/tt15364972/reference/
Brett says: “SANCTUARY explores power, identity, and trauma through a peculiar sexual relationship with a unique cinematic reality-bender format. There are only two featured characters, a dominant female sex worker and submissive male executive who finds himself struggling to find his footing after the loss of his father, who has handed down to him a corporation and a massive inheritance. Don’t expect this one to be a shallow excuse to showcase all of the taboo tools of the dom/sub trade, however. The approach from the film to this type of relationship is chiefly psychological and quite the abstract, unconventional journey.
“It is a one-setting film, all taking place within the confines of a hotel suite and sometimes just outside the room. The world-creating in the small space within is nothing short of a production design triumph. Such films often make me question why this wouldn’t be reserved for the live stage, but what SANCTUARY does cinematically reverses the inquiry and makes me wonder how this would ever be portrayed as effectively as a stage play. My response: it wouldn’t. The cinematography transforms the stage space in a way that pulls the audience into the room with the couple. The viewers take a trip to a world they create night in and night out with almost psychedelic effect. The excessive dialogue throughout (and my, oh my, is there a lot of words in this one) is another tool that takes the viewer to a whole other alternative place.
“The duo each has his/her own benefits to being in this sort of relationship. Rebecca is paid for her work, but payment is secondary to other psychological fulfillments that unfold as the film progresses. For Hal, his physical gratification is not the ultimate gain from these experiences. Both redefine their own sense of currency in these provocative interactions.
“The situation both find themselves in has very defined roles for each person at the start. It is even scripted in order to prevent any derailment of the experience for the client. One of several paradoxes at play here, however, is related to this false sense of control. Rebecca as the dominant figure assumes full control over her encounters. Yet, she is still an employed performer, so she has all of the power in one sense, but also no real power since it is all gained through Hal’s enablement through hiring her in the first place and having the ultimate say in when the encounters are over. She controls him, but without him, she is powerless.
“Yet another paradox explored is that this constant escape from reality is in itself taking on real life attributes. They are living in this temporary world that doesn’t quite exist, a world confined by rules and rituals, but the confinements with this space ironically allow for liberation and emotional release. Furthermore, the strict parameters they put on their respective roles is actually an open door to free themselves from the constant vortex outside those hotel suite walls.
“There is certainly a fair share of reservations some audience members may have about this topic in this particular setting. It is quite a web of deep-seeded psychological traumas and not solely focused on the carnal elements. One should know what kind of quicksand they’re getting into before giving it a shot. While it’s by no means the same film or exact type of film, fans of the 2002 film SECRETARY may find boundary-pushing themes within this film that resonate just as well. At the same time, others may find the layers upon layers that reveal themselves in this particular film to be excessive. It’s a high risk, ambitious project, but one that’s surely rewarding for the filmmakers when it sticks the landing with audiences not accustomed to the explorations within. 4 cats out of 5“