‘Sanctuary’ reviews: Margaret Qualley and Christopher Abbott are ‘wickedly sharp’ in psychosexual thriller
On May 19, 2023, NEON released “Sanctuary” starring Emmy nominee Margaret Qualley and Christopher Abbott. The film directed by Zachary Wigon follows a dominatrix (Qualley) and Hal (Abbott), her wealthy client, and the disaster that ensues when Hal tries to end their relationship. The dark comedy thriller opened to rave reviews at last year’s Toronto Film Festival and is holding fresh at 96% on Rotten Tomatoes. Read our full review round-up below.
Brian Tallerico of RogerEbert.com says, “The performers here have such generous chemistry with one another and it’s a joy to watch them play out this psychosexual commentary on gender and power roles with such artistic fervor. This is a film that toys with perception and control with wickedly sharp dialogue that these two incredible actors just eat up. It’s proof that single-setting two-handers can still be vibrant and alive when the writer, director, and actors are all on the same riveting page.” The review continues, “Qualley seems to just get better each time out. Her work in ‘Maid’ was spectacular, and this is arguably her best film performance to date, refusing to lean into clichés about sex workers and finding such complex range in this fascinating character, someone who may be the hired employee in this dynamic but has all the control.”
Dan Bayer of AwardsWatch writes, “Micah Bloomberg’s script for Sanctuary is incredibly smart about how the ‘play’ of BDSM can reveal who we really are inside, and how that can start to bleed into the ‘real world’ in sometimes surprising ways.” He adds, “This is the sort of film that lives or dies on its performances, and both Abbott and Qualley are up to the task. They’re two of the most watchable actors of their generation, but they step up their games considerably for this, bringing scorching charisma and immense talent to the film. Qualley in particular has never been better – the script asks a lot of her as Rebecca takes some wild swings in her attempts to hold onto what’s hers, and she sells it particularly well in the quiet moments when we watch Rebecca process what’s happening and figure out her next move.”
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David Ehrlich of IndieWire praises the film, noting, it “unfolds like a kinky cross between ‘Punch-Drunk Love’and an off-Broadway play. The results are delightful and exasperating in almost perfectly equal measure until a last-minute hail Mary ends the movie on such a high that even its hoarier stretches seem like they were worth the walk in hindsight.” Ehrlich adds, “What makes ‘Sanctuary’ such a salaciously enjoyable slice of snack-sized fun is how it argues that some people have more to give than they would ever know without the right person to take it from them.”
Louisa Moore of Screen Zealots observes, “The film’s tone is uneven and inconsistent and the direction is lacking, but the two lead performances are terrific.” She adds, “As a viewer, this constant back and forth makes the film extremely frustrating. By the very definition of her profession, Rebecca is a person who holds and exerts all the power over her client. The twist here is that Hal also has a significant amount of power. They both are master manipulators and can control each other on a whim. This aspect of the film becomes more irritating than compelling, especially when it’s impossible to tell who’s telling the truth at any given time.”
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