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Sundance: ‘Fair Play,’ Jonathan Majors in ‘Magazine Dreams’ astonish

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For the seasoned Sundance-goer, returning to this movie competition for the primary time since January 2020 can really feel like a half-comforting, half-disorienting resumption of acquainted rituals. Aside from the occasional masked face peeking out from the same old parka-and-beanie ensemble, you nearly may have the ability to persuade your self that nothing has actually modified, {that a} three-year pandemic blip didn’t actually occur. Here we’re, in any case, lining up as at all times in the identical crowded foyer of the Eccles Theatre, a 1,269-seat high-school auditorium that serves because the competition’s largest venue. And there we go once more, shuttling off to Main Street for a midnight film on the Egyptian Theatre, as a result of that’s what you do at Sundance, rattling it, and who doesn’t need to see Sarah Snook go on a scream-queen rampage in an Australian mommy-dearest freakout referred to as “Run Rabbit Run”?

That film, which delivers a succession of initially efficient frights earlier than devolving into “Run Rabbit Run Rinse Repeat,” won’t have been the second coming of “Hereditary.” But I used to be glad to see it in a packed Park City home regardless, fortunately sandwiched between two associates whose nervous giggles, together with Snook’s characteristically arresting efficiency, had been greater than sufficient to maintain me in my seat. But will you keep in yours? Shortly earlier than “Run Rabbit Run’s” first screening Thursday night time, a programmer introduced that the film had been acquired by Netflix. Which means you’ll get to see it quickly sufficient within the consolation of your personal residence, although with the luxurious of skipping forward and even turning it off should you discover it too scary or spinoff or boring.

Sarah Snook within the film “Run Rabbit Run.”

(Sarah Enticknap/Sundance Institute)

That’s the streaming addict’s prerogative, after all, and God is aware of Netflix releases greater than its share of the skippable. But if the return to an in-person Sundance has proven us something in these early days, it’s that even a film you may need been tempted to fast-forward at residence — or keep away from within the first place — can change into one thing altogether extra involving, and even indelible, when projected on a giant display in entrance of a stoked crowd. Movies as robust as “Fair Play” and “Magazine Dreams,” which jolted the competition’s U.S. dramatic competitors to life on Friday afternoon, may even persuade you they’ve the makings of a possible breakout, even when the fraught economics of the film trade — pushed residence by current information of widespread Regal Cinemas theater closures throughout the U.S., six of them in Southern California — inform a way more miserable story.

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But that’s sufficient existential doom-and-gloom for now. I come to this competition to not write untimely obituaries for cinema, however fairly to bear witness to its promising indicators of impolite good well being. And there have been such indicators aplenty in “Fair Play,” a wicked-sharp psychological thriller that marks the scarily assured characteristic debut of the writer-director Chloe Domont. It tells the story of Emily and Luke (Phoebe Dynevor and Alden Ehrenreich, each excellent), two bold analysts on the similar Manhattan hedge fund. They are additionally, secretly, a pair — a violation of firm coverage that turns into ever extra sophisticated when Emily will get the most important promotion that they had each assumed would go to Luke.

Why they assumed such a factor to start with is a thriller that Domont will spend the remainder of this film inspecting, and if the solutions are pretty apparent — the fragility of the white male ego on the whole, the pervasiveness of finance-bro misogyny particularly — the following twists and turns fortunately are usually not. Darting nimbly between her protagonists’ views whereas making it abundantly clear the place her sympathies lie, Domont transforms a pair’s bed room and a company boardroom into brutally complementary struggle zones. She additionally packs the film with memorable supporting gamers, together with the nice Eddie Marsan as a reptilian CEO and Rich Sommer as a way more menacing model of the schlubby adman he performed on “Mad Men.”

That sequence, so astute in its grasp of an earlier period of company sexism, isn’t the one factor that will come to thoughts as you watch “Fair Play.” At instances I flashed again on “Margin Call,” that elegantly chilled drama about Wall Street on the eve of the 2008 monetary disaster; at a couple of others my thoughts returned to “Promising Young Woman,” although to those eyes, Domont’s fearless consideration of male violence and feminine reckoning attracts much more blood, each actually and figuratively. Is it potential that each these motion pictures had been at entrance of thoughts as a result of I’d seen them each for the primary time right here in Park City? Maybe so. One of the pleasures of regular festival-going is that you simply don’t simply retain recollections of (a few of) the films you noticed, but in addition of the place and whenever you noticed them. If you’re fortunate, you may even bear in mind the cost that they despatched by the gang, the sense of an thrilling discovery being made in near-unison.

A man and woman in business outfits stand near each other.

Alden Ehrenreich and Phoebe Dynevor in Chloe Domont’s “Fair Play,” an official number of the 2023 Sundance Film Festival.

(Sundance Institute)

“Fair Play” delivered that cost, and so, to vastly grimmer and extra slow-burning impact, did “Magazine Dreams,” a brutal research of bodily extremity and psychological meltdown constructed round a completely astonishing lead efficiency from Jonathan Majors. For 124 patiently noticed minutes, Majors totally inhabits the ripped abs, swollen arms and bruised soul of a bodybuilder named Killian Maddox — a reputation that Killian retains repeating, in full, all through the film. He hopes that identify can be well-known in the future, that after years of obsessively pumping iron, pounding 6,000 energy a day and injecting himself with steroids, he may ultimately grace the covers of males’s health magazines throughout America. It’s a dream that — as shot in gauzily hypnotic lengthy takes of bulked-up male our bodies strutting and posing beneath chandelier lights — flies defiantly within the face of the trauma, poverty and barely modulated rage that outline Killian’s existence.

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The repetition of “Killian Maddox” works its personal unsettling impact on the viewers, partly as a result of the primary 4 letters spell “kill,” and partly as a result of filmmaker Elijah Bynum clearly needs us to consider one other unforgettably named sociopath-antihero, specifically Travis Bickle. The invocations of “Taxi Driver,” a traditional that American filmmakers by no means tire of referencing, are quite a few and at instances apparent to the purpose of ritualistic, from the ill-advised date that Killian goes on with a candy co-worker (Haley Bennett) to the unnerving sight of him buying and assembling a firearm. That sequence and others, which all however dare us to see phrase bubbles like “mass shooting” and “deranged incel” hovering round Killian, tied my very own definition-free abdomen muscle tissues in knots.

But Bynum can be conducting, within the tense and operatic longueurs of his storytelling, a provocative inquiry into Killian’s capability for violence — a capability that he each acknowledges and repeatedly questions by having Killian entertain a murderous fantasy, many times, solely to tug him again from the brink. This sort of bait-and-switch can develop wearying over the course of the film’s lengthy and never solely sustained two-plus-hour progress, however it is usually rooted in reputable questions. How a lot fact can we glean from Killian’s personal oft-alluded-to felony report, particularly given the overaggressive policing to which we see him being subjected? Does he pose kind of of a menace to society than, say, the racist white males who beat him up in retaliation, following a sequence of escalating altercations?

In these moments, Killian’s physique — which can be, irreducibly and inseparably, Majors’ physique — turns into each a hypnotic visible spectacle and a sort of argumentative vessel, one which absorbs the fears and assumptions that get connected to Black males in America by default. Those assumptions will certainly proceed to be debated — although the greatness of Majors’ efficiency, I think, is not going to — as this livid, darkly humorous and agonizingly bleak imaginative and prescient makes its manner by Park City and hopefully past.

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