Hollywood has always been captivated by the realm of high finance. The allure of money and power, coupled with the sleek facade of hedge funds and investment banks, creates the perfect setting for memorable monsters clawing their way to the top.
“Fair Play,” a Sundance hit Netflix recently acquired for $20 million, debuts on the streaming platform tomorrow. Written and directed by Chloe Domont, the film juxtaposes the coldness of the conference room with the steaminess of the bedroom. The central characters, Emily (played by Phoebe Dynevor from “Bridgerton”) and Luke (Alden Ehrenreich), are co-workers keeping their relationship a secret. Their forbidden romance becomes an exciting game as they navigate the workplace, exchanging pleasantries in front of colleagues and arriving separately. While they maintain a professional facade at work, behind closed doors, their passion is unleashed. However, when Emily receives a promotion above Luke shortly after their engagement, the boundaries between their personal and professional lives blur, endangering their impending marriage.
This premise is tantalizing, but unfortunately, “Fair Play” falls short in execution. Domont valiantly tries to explore how gender influences power dynamics and provides a female perspective on corporate culture, delving into the conflicts women face in pursuing ambition. However, weak character development, melodramatic dialogue, and inconsistent tone result in a messy misfire. Although billed as a psychosexual thriller, “Fair Play” fails to be genuinely provocative or seductive.
The main issue lies in the lack of convincing chemistry between Emily and Luke. While initially portrayed as infatuated lovers, much of the film depicts them as near-strangers. When Emily attempts to revive their relationship by seducing Luke, his disinterest surprises her. This is meant to highlight their growing distance, but it feels implausible given their supposed history. Furthermore, the characters never extend beyond their engagement and shared secrecy at work, leaving Dynevor and Ehrenreich, both talented actors, adrift in their roles.
Of the two, Luke suffers more from underdeveloped writing. Shortly after Emily’s promotion, he devolves into passive-aggressive behavior and becomes engrossed in the teachings of a self-help guru with misogynistic undertones. Luke’s characterization as a cartoonish villain, combined with his obvious wrongdoings, diminishes the dramatic tension. The revelation that he only has his job due to personal connections, followed by his baseless accusations against Emily’s professional success and appearance, portrays toxic behavior that exists in reality. However, the lack of depth in Luke’s character robs the story of its potential impact.
The film eventually descends into a gravely serious ending. Without revealing too much, violence emerges as a last-minute twist, prioritizing shock value over insightful resolution. Just as the film begins to explore the complexities of the couple’s dynamics—Luke’s desire to prove himself in a hypermasculine environment and Emily’s reliance on alcohol to cope—it undermines itself in an unpleasant manner.
“Fair Play” belongs to a recent wave of films that examine gender politics through the lens of various genres. Some, like the stylish horror film “Fresh,” successfully combine captivating filmmaking with compelling characters. However, others, such as the misguided adaptation of the viral short story “Cat Person,” rely on unnecessary drama to justify their thriller status. “Fair Play” falls into the latter category, struggling to fully engage with the thought-provoking questions that drive its narrative. Although the film teases the potential for insights into power imbalances in relationships, the blurred boundaries between work and personal life, and the impact of one’s career on identity, it ultimately fails to delve deep, leaving viewers with frustratingly little to invest in. Ultimately, it feels like a prolonged tease with no satisfying payoff.
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