The Gallerist marks the next entry from one of the most intriguing young directors working today.
Cathy Yan has quickly risen through the ranks of filmmakers to watch. In 2018, she won a Special Jury Prize for Dead Pigs, which led to her becoming the first Asian woman to direct a superhero film with Birds of Prey. With The Gallerist, Yan assembles her biggest cast to date and delivers a quirky, frenetic, and highly entertaining addition to her growing filmography.
The film is led by Natalie Portman, who adopts a striking new look and an intense presence as Polina, an ambitious art gallery owner determined to prove herself. When a tense confrontation with a media influencer takes a sudden and deadly turn, Polina makes a split-second decision to avoid total ruin: she props up the body and presents it as a piece of art.
Shockingly, it works. The installation becomes the talk of the town and an instant must-see attraction.
It’s a far-fetched premise, no doubt, but one that allows Yan to create a film buzzing with manic energy and dark humor.
Portman is joined by Jenna Ortega and Catherine Zeta-Jones as they scramble to cover up the mounting chaos. The supporting cast is stacked, with standout contributions from Da’Vine Joy Randolph, Sterling K. Brown, Zach Galifianakis, and a scene-stealing Daniel Brühl.
Ultimately, it’s Yan’s confident direction that keeps this ambitious concept from collapsing under its own weight. Bold cinematography and a propulsive score keep the momentum high, and the film never overstays its welcome. The twists are frequent and entertaining, even as they push the audience to constantly question the plausibility of what’s unfolding.
Portman is fully committed here, delivering her normal solid work opposite Ortega and Brown. It’s a role we haven’t seen her tackle before, and she clearly relishes the opportunity.
While The Gallerist is undeniably fun, it never quite lets the audience fully suspend disbelief. The idea is clever and original, but the film keeps reminding you just how much everyone is expected to buy into the absurdity.
The cast does the best it can with the material, and in the end The Gallerist lands as a passable popcorn flick. It doesn’t quite match the caliber of films typically found at Sundance, but it has its moments.
In less capable hands, this movie could have easily fallen flat. Fortunately, Yan does everything she can with the material, resulting in a brisk 100 minutes of stylish, entertaining chaos.
I’m excited to see what Yan tackles next, ideally with a story that’s more rooted in reality.
