“The Gallerist” Fails to Impale Viewers with Satire, Despite Star-Studded Cast
The darkly comedic film “The Gallerist,” which premiered at Sundance, attempts to skewer the art world but ultimately falls flat, wasting the talents of Natalie Portman, Catherine Zeta-Jones, and Da’Vine Joy Randolph.
A darkly amusing premise – what if a gallery owner covered up an accidental death and turned the corpse into an art installation? – hinted at a potentially biting satire. However, according to reviews, the film feels more like a strained “Weekend at Bernie’s” for museum-goers, lacking the wit and intelligence to succeed as either farce or social commentary.
The film marks the latest effort from writer-director Cathy Yan, who previously garnered attention with her 2018 Sundance entry, “Dead Pigs,” and later directed the Harley Quinn spin-off “Birds of Prey.” “The Gallerist” was envisioned as a project that would allow Yan creative freedom while still attracting a high-profile cast. During the Sundance premiere, Yan reportedly joked she didn’t have to edit the film in her living room, but the final product represents a significant misstep.
Portman Struggles to Find Her Footing
The film centers on Polina, an ambitious gallerist portrayed by Natalie Portman, styled as a hybrid of Miranda Priestly and Andy Warhol. Polina, hoping to elevate her status beyond the shadow of her ex-husband, the “canned tuna king” Tom (Sterling K Brown), unveils a new exhibition during Art Basel’s Miami edition. The exhibition features the work of Stella (Randolph), a relatively unknown artist whose work is immediately dismissed by Dalton (Zach Galifianakis), an obnoxious art influencer.
A tragicomic accident ensues when Dalton slips and impales himself on Stella’s centerpiece. Polina’s reaction – moving through stages of repulsion, pleasure, fear, and ultimately, inspiration – sets in motion a chaotic scheme to capitalize on the situation while concealing the truth.
Despite the intriguing setup, the film struggles to deliver. One critic noted the dialogue is “soft and uninventive,” and the escalating circumstances feel “tiring and hard-to-buy.” While the cast is willing, they reportedly struggle to find the appropriate tone for Yan’s energetic vision.
Portman’s performance is a particular disappointment. Despite a history of taking on challenging roles, including her work in the Marvel Cinematic Universe, she appears “rudderless” in the role of Polina, unable to fully embody the character’s physicality or navigate the required level of comedic exaggeration. “It’s not that Portman can’t do comedy,” the review states, referencing her performance in “No Strings Attached,” “but she’s completely rudderless here.”
A Missed Opportunity for Deeper Commentary
While the film’s jabs at the art world may be predictable, the review suggests a glimmer of more insightful commentary. The narrative touches on the tension between artistic integrity and commercial pressures, with Stella expressing discomfort as Polina exploits her work for attention and profit. The reviewer speculated that Yan may have been drawing on her own experiences working with a major studio like DC, hinting at the compromises artists often face.
However, this potential thread remains underdeveloped. The film ultimately prioritizes Polina’s perspective, leaving Stella as an underwritten character, a disservice to Da’Vine Joy Randolph, who recently won an Oscar for her performance in “The Holdovers.”
The film features supporting performances from Jenna Ortega as Polina’s assistant Kiki, Daniel Brühl as a “trashy party boy,” and Charli xcx as Dalton’s girlfriend. Zeta-Jones appears as a recently released art maven, but the review suggests her character lacks depth.
Ultimately, “The Gallerist” fails to live up to its potential. The review concludes that the film is “dead on arrival,” a waste of a talented cast and a missed opportunity for a director seeking to move beyond the constraints of blockbuster filmmaking.
