Synopsis
The 2022 American psychological drama film Sanctuary, directed by Zachary Wigon and written by Micah Bloomberg, stands out for its almost complete immersion in a single hotel suite, relying on minimalistic conversations and spectacular performances to evict a muted ambiance throughout the film.
The movie starts with Porterfield Hal, a new heir to his father’s hotel empire, describes the sudden entrance of a new character, Rebecca Marin, as a complete transformation to his identity and self control. Porterfield Hal has been under the expectations of wealth, family tradition, and corporate responsibilities that come with a cumbersome legacy, and as such has been preparing for a crossover for a long time. Porterfield Hal has been anxious and confident regarding the expectations that are to be met, such as the need to meet Rebecca in a private suite. What seems to be, a series of myopic assumptions comes to reality as a complicated psychological game of a battle.
Throughout the duration of the film, Hal and Rebecca are engaged in an intense verbal and emotional duel as they try to make sense of one another. While Hal thinks he is in charge of the meeting, it is Rebecca’s sharp mind, exceptional confidence, and remarkable focus that make him lose control. As the two begin to converse, the intensity levels rise to a point where the direct opposite of any of the condition seems to be true.
When Hal, as the conversation progresses, is confronted with the issues of privilege, identity, and the burden of responsibility, the deepest folds of his psychology are revealed. Rebecca, in turn, seems to peel off layers of motivations that reside beneath the surface, deepening the complexity of the conversation which at it’s surface appears to be a shallow, one-sided, dispassionate exchange.
Sanctuary is no longer concerned with which character overcomes the other, it is about the transformation that is brought as a result of the confrontation with reality and the essence of the desires. The focus shifts to pondering over relationships, motivation to succeed, and the most important disassociation between the private and public identity.
The film is the perfect illustration for the two, as they are the only characters in the film and so they are the one’s responsible for carrying the narrative on their shoulders.
Christopher Abbott as Hal Porterfield
Abbott portrays Hal as the young and confident heir to the business empire and the one to take on the family business. With Hal’s character, Abbott is able to capture the vanity and the uncertainty which always accompanies it, and does so brilliantly. Fails to fully appreciate the ramifications of the value of his privilege. Subtle tonal inflections, along with some delicate moments of incredible strength and supreme elegance, allow Abbott the unwriting of one of the most complicated character in, perhaps, the entire anthology, full of stereotypes and breathing self-Europeanization/ self-absorbed nihilism.
Margaret Qualley as Rebecca Marin
Rebecca is perhaps one of Qualley’s strongest roles in this series. Through her poetry and intense dialogues with Hal, the character exudes confidence, profound intelligence, and highly developed verbal communication skills which she isn’t afraid to use. Qualley’s delivery is laudable. She is able to blend elegance with strength, charm with determination, and passes straight through mental gates as easily as the razor’s edge. Perhaps the most powerful and admirable woman of them all, the entire performance is emblematic for the soaring intense psychological duel of the two actors. With Qualley and Abbott, the psychological and emotional climax of the entire movie has a mesmerizing physical motion to it.
Direction & Cinematic Style
Wigon is an extremely focused director with a straight approach to the film. Worms of thoughts like a surreal castle serpents along the coastline, and to allow one’s gaze to pass seamlessly, like a soft touch in a delicate song through various self-absorbed nihilism of both characters. By containing the story to one hotel room, he softens the borders of the space, before, at the last possible moment, tightening them.
Ludovica Isidori’s camera work embraces emotive closeups, shadowed lighting, and choices in focus throughout. As the movie unfolds, various shifts in lighting correspond to the fluctuating moods of the dialogue, radiating a hearty glow at some points, while at others, embodying a shadowy, tense quality.
The minimalist design of the set captures the limitedness of the hotel suite, serving as a mere backdrop while also encapsulating the ideas of additional pressure and anticipation. The portrayal of Hal and Rebecca behind the walls restricts them of the outer complexities, where the duo and the outer layers, confined to the hotel suite, are able to shovel dirt.
The pacing of the film is intentional, as it flows in an orderly, structured manner similar to a stage play. Prolonged dialogue is broken up by silences in which the characters, with the audience, ponder what has previously taken place. This builds an emotional and intimate connection, while also creating a noticeable amount of anxiety.
Thematically, the movie explores a wide range of topics. However, in comparison to other films, Sanctuary is not as grand when it comes to the setting.
Power and Control
The primary focus is on the evolving distribution of power between Hal and Rebecca. What begins as a dynamic that is apparently in Hal’s favor, is slowly reversed. The film prompts the audience to consider the origin of control—be it money, power, intelligence, or self-awareness.
Identity and Expectation
Hal’s character a prime example of the burden of a legacy and the sociocultural expectations that come with it. His dialogues with Rebecca act as a catalyst for him to reflect on the possibility that his self is not an independent entity, but rather a construct that is based on other people’s expectations.
Performance vs. Reality
The two characters in focus engage in a particular type of performance, where boundaries and perceptions are tested. The film includes a seamless continuum of real life and life as an actor, which provokes thoughts about the authenticity of people’s interaction.
Self Discovery
In the end, the narrative revolves around two individuals discovering and realizing intricate aspects of themselves. For Hal, it is the understanding that the life he is living is not his. For Rebecca, it is the understanding that she possesses strength and influence and that she is able to accept it.
Critical Reception and IMDb Rating
Held at an IMDb rating of 6.4/10, Sanctuary is regarded as having manageable negative reviews. The film, despite not being a mainstream blockbuster, still managed to resonate with critics and audience members alike given the fact that it is deeply character driven and dialogue focused, something that is not mainstream in today’s cinematic narratives.
The reviews concerning Abbott and Qualley have been laudatory, with some critics even claiming that their performances are magnetic and audacious. It was an accomplishment that the two of them were able to single-handedly carry an entire feature film with only two cast members. Many critics in the film were still able to appreciate the performace of the film in the context of a stage play, appreciating the theatrical nature of the film and the heavy emphasis on dialogue rather than action.
The other criticism that received comment was the direction of the film, in particular Wigon, who seemed to be able to build tension in an incredibly stifling environment. The delicate and understated nature of the filming and the set design was appreciated, as it seemed to enhance the mood of the film rather than distract from the actors and their performances.
Some critics and viewers argued that the film Sanctuary had a pacing problem and was slower than expected, which was caused by the lack of action. However, there were some who in fact appreciated this feature, as it enabled the psychological intricacies of the characters to be the focal point of the piece.
At film festivals, Sanctuary was labelled as a daring and personal piece that showcased the power of performance-led cinema.
In conclusion, Sanctuary was a riveting psychological drama that proved the effectiveness of the film through lack of opulent scenery as well as a large cast. It has been positively critiqued by critics for the incredible writing, directing, and acting as it has been able to immerse the viewer regarding power, identity, and the intricacies of human relationships.
In concentrating on only two characters in one location, the movie reduces story telling to its fundamental components: competition, conversation, and emotions. The performances of Christophter Abbott and Margaret Qualley shed human characteristics on the characters and make the audience ponder the characters’ actions as well as deeper issues of dominion, authenticity, and the search for the self.
Sanctuary is one of the few movies ‘Sanctuary’ is one of the few movies that is well suited for people who appreciate quiet films that engage the viewer and prompt reflection. This Wonderful work of art is a reminder that the beauty of story telling is best experienced in its uncluttered and pure form. It also serves to emphasize the fact that simplicity and a few characters in a confined location can sometimes shed light on the most profound of issues.
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