Film critic Justin Chang examines two Sundance films that draw blood: Chloe Domont's 'Fair Play' and Jonathan Majors vehicle 'Magazine Dreams.'
didn’t really happen. Here we are, after all, lining up as always in the same crowded lobby of the Eccles Theatre, a 1,269-seat high-school auditorium that serves as the festival’s largest venue.
That movie, which delivers a succession of initially effective frights before devolving into “Run Rabbit Run Rinse Repeat,” might not have been the second coming of “Hereditary.” But I was glad to see it in a packed Park City house regardless, happily sandwiched between two friends whose nervous giggles, along with Snook’s characteristically arresting performance, were more than enough to keep me in my seat.
But that’s enough existential doom-and-gloom for now. I come to this festival not to write premature obituaries for cinema, but rather to bear witness to its promising signs of rude good health. And there were such signs aplenty in “Fair Play,” a wicked-sharp psychological thriller that marks the scarily assured feature debut of the writer-director Chloe Domont. It tells the story of Emily and Luke , two ambitious analysts at the same Manhattan hedge fund.
Why they assumed such a thing to begin with is a mystery that Domont will spend the rest of this movie examining, and if the answers are fairly obvious — the fragility of the white male ego in general, the pervasiveness of finance-bro misogyny in particular — the ensuing twists and turns happily are not.
That series, so astute in its grasp of an earlier era of corporate sexism, isn’t the only thing that may come to mind as you watch “Fair Play.” At times I flashed back on
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