There’s been a ton of buzz around this film since this film premiered at Sundance and became the highest sales coup when Netflix bought it for $20 Million. It’s especially notable that this psychological thriller is a directorial debut from a female filmmaker, Chloe Domont.

The story is set in a world of high finance where the two leads, Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) both Ivy League-educated business analysts working at a top hedge fund company in Manhattan. They’re deeply in love with a ferocious sexual appetite for one another, as displayed in their steamy bathroom tryst in the opening scene that ends in an impromptu proposal. I appreciate the female gaze approach to the sex scenes–racy without being overly vulgar. 

The film gives a glimpse of what it’s like to work in such a cutthroat & adrenaline-charged environment where work-and-life balance is practically a fantasy. Starting their day at 4:30 AM as they commute all the way from Long Island, they often don’t get home until late evening. It’s clearly a high-stress job as within the first 10 minutes we see Luke’s boss Quinn go berserk when he gets fired, destroying his computers while sprouting profanities.

Emily and Luke’s relationship soon unravels when the coveted new PM (portfolio manager) position unexpectedly goes to Emily. Initially, Emily thought the promotion would go to Luke, but soon she learns from her boss about Luke’s less-than-stellar performance as an analyst. Yet Emily remains supportive of her fiancé and tries to help him move up in the company, but clearly, dealing with a fragile male ego is just as tricky as figuring out the best investment strategies.

I read that Domont was inspired by her own experience where her career aspirations and success impact her past relationships. Her taut script isn’t exactly subtle in addressing themes of toxic masculinity, misogyny, and male fragility. Some of the issues presented here feel timely and relevant as even in 2023, most women are still paid less than their male colleagues and have to keep proving themselves in a male-dominated workplace.

The trailer reminds me of a 90s corporate thriller, I immediately think of Disclosure with Michael Douglas and Demi Moore where Moore’s character is clearly the villain. Domont’s film is more nuanced and well, fair, in how the gender dynamics play out. While Luke’s unbridled ambition and unchecked jealousy soon go out of control, Emily isn’t exactly blameless either. She often resorts to drinking too much when she’s stressed out and her sheer tenacity ends up creating a bigger wedge between him and Luke.

The cast is excellent across the board. I’m impressed by Dynevor and Ehrenreich who gave such committed performances. Domont gave them such juicy roles to showcase their acting chops and they did not disappoint. I’ve seen Dynevor as a strong career woman in The Colour Room but she certainly takes it up several notches here. Meanwhile, this is the first time I see Ehrenreich in a serious and sinister role after SOLO and Hail Caesar!, I’d say he acquits himself very well in this role.

Nice to see character actor Eddie Marsan in a prominent role and his character Campbell is quite despicable. There’s a scene between him and Emily that just makes my blood boil. To be fair, everyone is so unlikeable and morally bankrupt here, the kind of people who worship at Wall Street’s Gordon Gekko.

Executive-produced by Rian Johnson and Ram Bergman (who collaborated on Glass Onion: A Knives Out Mystery), Fair Play is packed with suspense and tension from start to finish. Domont deftly keeps the tone unsettling with each twist and turns. There’s an air of dread that permeates practically every scene, and the tension just keeps on building until it culminates in a disturbing finale that makes my skin crawl. The bit about Emily’s relentless mother and the engagement party feels a bit over the top, but overall it’s an effective ending that will stay with me long after the end credits roll.

Ultimately this isn’t a fun movie to watch per se, but an important one that deserves all the attention. It’s amazing that this is Domont’s first film given her assured direction here, she’s certainly one to watch in a series of new crops of first-time directors we see this year. While Fair Play is not something I’m keen to watch again, it’s making a serious case to be included in my Top 10 of the year.

FAIR PLAY is currently streaming on Netflix

Have you seen FAIR PLAY? What did you think?