SANCTUARY

US, 2022, 95 minutes, Colour.

Margaret Crowley, Christopher Abbott.

Directed by Zach Ziglom.

This is a psychodrama. It could also serve as a dramatic illustration of a psychosexual situation. It is a two-hander and practically all of the action takes place in a hotel room – some moments outside the room in the corridor and an opening elevator. The invitation for the audience is to observe, possibly identify with one or other of the characters, reflect on the interactions, the interdependency, the future of the characters.

The film opens with the young business executive, Hal played by Christopher Abbott, with a business-looking blonde young woman, Rebecca, entering and going through the details of a legal contract with him. But, Hal begins to object to the questions – and it emerges that he wrote the whole scenario and dialogue himself. The two are in a role-play, created by Hal, performed, ever more independently, by Rebecca.

What we are shown is a dominatrix situation, Rebecca employed by Hal who feels he has been belittled, underestimated by his successful father (seen in a photograph with his son). The issue is Hal’s inadequacy as a person, and the connection of this inadequacy with his sexuality. Interestingly, in terms of understanding himself, it is Hal who writes the various scenarios, seeming to have some insight into himself but then very dependent on Rebecca’s responses. She humiliates him, his having to clean the floor, self-deprecation, sexual experiences.

As the film progresses, Rebecca seems to assert more independence from Hal and the scenarios, walking out, tantalising him that there was video of all their activities and his consequent smashing of the room to find the camera. Rebecca attempts to leave, Hal bringing her back. And Rebecca assert herself once more, discussing the contract, wanting Hal to invest his salary in her, and the suggestion arising that instead of Hal, Rebecca could be the CEO with Hal remaining at home in support.

Since this is a psychodrama, all options are open however practical, pragmatic or non-pragmatic they might be in reality. And the final question, the final image, what is the real relationship between Hal and Rebecca.

Which means that this psychosexual exploration may have limited interest and appeal, especially because of the claustrophobic confinement.

1. A psychodrama? Psychosexual issues? Domination? The screenplay film as a case study?
2. Audience response to this kind of psychodrama, observing, identifying, questioning, reflecting?
3. The claustrophobic effect of the drama, in the one hotel suite, main room, bathroom? Going out to the corridor, the open elevator? The musical score?
4. The introduction to Hal, his age, appearance, the photo with his father, his father the entrepreneur? The arrival of Rebecca, her appearance, blonde wig, stern, her papers, contracts? Initial audience response to each of them? Changing throughout the film?
5. The reality of the situation, Rebecca and the lines, going through the scenario, Hal and his reactions, the fact that he had written the scenarios? The previous relationship, the contract, her role as a dominatrix, his role as the client, his having some kind of control through writing the scenes?
6. The drama of the interactions, Rebecca and her control, the lines, criticism from Hal, her improvising, the discussions? The humiliation, stripping, cleaning the floor? The sexual encounter and her tantalising him, controlling him? The video, his searching for a, smashing the room, electrocution, the sexual effect? Sanctuary as the safe word"
   
7. Hal, his relationship with his father, his father’s treatment of him, humiliating him, his mother, preparing to go to the function with her?
8. Rebecca, the interactions, the control, her leaving, Hal coming to the elevated to get her back, twice?
9. The development of the scenario, Hal and his suggestions, Rebecca in control? The issue of her payment, the money, the discussion of his salary, giving it to her, the possibility of selling his shares in buying back the company, Rebecca and her place in the company, becoming the CEO, his becoming the equivalent of the wife at home?
10. The revelation of Rebecca’s strengths, of Hal’s weaknesses, the finale and the relationship between them, the kissing, the future?