The Sanctuary

Written, directed and produced by Maynard Bagang, The Sanctuary tells the raw tale of Isabella and her two children who, after being kicked out of their residence due to their status as undocumented immigrants, must survive the cruel streets with no money and little hope. That is until a kind stranger, James, offers a helping hand. The subject matter alone makes for a captivating viewing experience given its stark relevance in today’s world, tackling themes of immigration, grief and homelessness.

Nothing elevates this feature film more than the powerful central performances. Also starring in the film, Maynard Bagang delivers an emotionally connected performance as the grieving former doctor: James, with many scenes showcasing his deep vulnerability as an actor. Commendations should also be awarded to Jasmin Davis who instills Isabella with the stoicism of a mother trying to hold herself together for her children, combined with tasteful glimpses into her inner psychological life. Most impressive of all however, is the magnificent emotive display of Mara from child-actor Aria Isabella Yeung. At such a young age, tackling such complicated subjects as those on display here, Yeung gifts the audience an honest and effective portrayal of empathy – perhaps resulting in the single best performance of the film.

Unfortunately, the stellar work by this company of actors is often in spite of the material, with on-the-nose dialogue, an unfocussed screenplay and some curious mixed messaging. Sticking out like a sore thumb, characters in this story often say exactly what they’re feeling at every instance, articulating their thoughts to an almost robotic clarity. One such example is when the family comes into conflict with Tony, a young homeless man. After a short argument he implores them not to judge him, to which Mara concludes “maybe we’re not so different from him”. This was obviously the moral of the scene, but having it spelled out so blatantly in such an unnatural fashion assumes the viewers to be unintelligent.

The variety of different themes on show also leaves the narrative feeling unfocussed, with James and Isabella’s stories feeling like two different films, one being a quiet meditation on grief, and the other an unflinching depiction of the treatment of immigrants – the latter of which features some unfortunate mixed messaging that seems unintended.

In multiple scenes we are shown the perspective of the ICE agents hunting the family. In one instance they share a discussion of hunting homeless people being “too far”. This suggests that to them, being an illegal immigrant is immoral but being a homeless illegal immigrant is cause for sympathy, which is an odd distinction for these otherwise unsympathetic characters to make with little justification.

Despite its sudden and fanciful ending, The Sanctuary presents a brave and brutal story calling attention to the struggle of undocumented immigrants. Although not a nuanced take by any means, the film’s simple message of kindness and empathy is a breath of fresh air in such a divided world. I truly hope Bagang and company continue to develop their commentary on this subject, as well as persisting in calling attention to such profound social themes in future projects.