The Gallerist Review: A Disappointing Art World Comedy
Natalie Portman and Jenna Ortega lead an all-star cast in The Gallerist, a new dark comedy that premiered at the Sundance Film Festival to underwhelming reception. Directed by Cathy Yan, the film attempts to satirise the contemporary art scene but ultimately falls short as both farce and meaningful commentary.
A Promising Premise That Fails to Deliver
The film centres on an absurd art world scenario: when an obnoxious art influencer accidentally impales himself on an exhibition centrepiece, ambitious gallerist Polina (Portman) decides to incorporate the corpse into the artwork rather than report the incident. What follows should be a sharp, fast-paced caper, but instead becomes what critics are calling a "pained and grating misfire."
Portman plays Polina as a morally ambiguous gallery owner styled somewhere between Miranda Priestly and Andy Warhol, desperately seeking acclaim at Miami's Art Basel. She recruits her assistant Kiki (Ortega) to help cover up the accidental death while simultaneously generating buzz for the exhibition.
Talented Cast Wasted on Thin Material
The film boasts an impressive ensemble including Catherine Zeta-Jones as a recently released art maven, Da'Vine Joy Randolph as struggling artist Stella, and Sterling K. Brown as Portman's ex-husband, the "canned tuna king." Despite this wealth of talent, none of the performers seem to find their footing in Yan's chaotic vision.
Portman in particular appears uncomfortable throughout, struggling to calibrate her performance between subtle comedy and broader farce. Ortega tries valiantly but often seems directionless, while Zeta-Jones is "all vamped up with nowhere to go" according to festival critics.
Missed Opportunities and Lazy Satire
Yan attempts to create momentum through energetic camera work and brisk pacing, keeping the film to a tight 90-minute runtime typical of Sundance entries. However, the dialogue lacks the sharp wit needed for effective satire, and the escalating circumstances feel increasingly implausible rather than thrilling.
The film does contain glimmers of more substantial commentary, particularly regarding the tension between artistic integrity and commercial success. Randolph's character Stella represents this conflict as her raw artwork becomes commodified through Polina's sensationalist marketing tactics. This potentially interesting dynamic remains underdeveloped, overshadowed by the film's broader comedic misfires.
From DC Blockbusters Back to Indie Filmmaking
The Gallerist marks Yan's return to independent filmmaking after her work on the DC superhero film Birds of Prey. While she joked during the Sundance premiere introduction that she didn't have to edit this film in her living room, the final product suggests a director struggling to rediscover her indie voice after big-budget studio work.
Yan's 2018 Sundance entry Dead Pigs demonstrated her ability to create vibrant ensemble pieces, making The Gallerist's shortcomings particularly disappointing. The film represents what many critics are calling "one for them and one for herself" - an attempt to balance commercial appeal with personal vision that ultimately satisfies neither objective.
Final Verdict: Dead on Arrival
Despite its promising premise and talented cast, The Gallerist fails to deliver either the sharp satire or engaging comedy it promises. The art world potshots feel dated and obvious, the characters remain underdeveloped, and the performances never coalesce into a coherent whole.
As the film seeks distribution following its Sundance premiere, audiences may find themselves wishing for more substantial material from both the cast and director. What could have been a wicked commentary on art, commerce, and morality instead becomes what one critic described as "Weekend at Bernie's for MoMA members" - a comparison that highlights the film's failure to achieve either genuine humour or meaningful insight.
