Natalie Portman is camp. It’s a reality that the actress’ fiercest detractors — and even some of her loyal supporters — seem to miss, yet it’s instrumental to enjoying her work. Portman won an Oscar toeing the line between camp and prestige as a tweaked-out ballerina. If you like the Star Wars prequels, “it’s camp!” is a common excuse used to justify that affinity. May December? Vox Lux? Jackie? High camp. And sure, that tightrope walk doesn’t always work, but in the case of something like The Gallerist, it’s an instrumental piece of a larger, zanier puzzle. It almost doesn’t work without it; those who caught its Sundance premiere would argue that it doesn’t work at all. For those tapped into the right frequency, however, it should be a lot of fun.
The Gallerist is the latest from director Cathy Yan, last seen behind the camera of the gonzo Harley Quinn centerpiece Birds of Prey. Though the former is decidedly glossier and a lot more buttoned-up than Yan’s foray into the comic book realm, it shares its wacky spirit — it just takes a bit of time to unspool it.
