This shifting drama may be too offbeat and kinky for some, but it often xls in its tightened scope and production.
Zachary Wigon’s Sanctuary uses onions of perception and control to his advantage in Micah Bloomberg’s zesty, if slight scripting. As it pertains to Christopher Abbott’s heir of a wealthy industrialist, Hal, versus his longtime client, Margaret Qualley’s Rebecca.
You see, Hal is rather calculating, though insecure when it comes to making his way into a hotel via his recently passed father. There’s Rebecca surveying a patriarchal landscape with an intensity as she refuses to end a wild role playing connection with ‘just’ a sizable parting gift.
What may end up as a capitalistic marble has been suffused with blackmail at such a luxuriant inhabitant that faulty provides a solution that shouldn’t be spoiled.
Sanctuary honestly isn’t the most cohesive product or experience, bit you have to hand it to the filmmakers in what is basically a two-hander, but not in ways that you might think; say like Secretary or 50 Shades of Gray. The interplay between Abbott and Qualley (daughter of Andie MacDowell) is often more electric than expected and the latter definitely exude a sly, sultry presence in what tips not only gender, but psychological.