The Gallerist opens with an Andy Warhol quote: “Art is what you can get away with.” With Cathy Yan returning to indie filmmaking, her latest film navigates art, the profound effect it can have on people, and where art belongs in a culture dominated by wealth, power, and egos. It’s also absurdly funny from the get-go, reminiscent of a South Park episode.
Natalie Portman stars as Polina Polinski, a struggling gallery curator trying to make a name for herself, as she’s about to open up an art collection and introduce unknown artist Stella Burgess (Da’Vine Joy Randolph) to the public. Things go sideways when obnoxious art influencer Dalton Hardberry (Zach Galifianakis) demands a VVIP tour of Burgess’ work. And in a classic, almost Rube Goldberg-like fashion, a horrible accident occurs near the centerpiece, titled “The Emasculator.” Burgess’ original piece – an enormous statue of a cattle castration tool her father used – now has a dead body impaled on it.
For Polinski and her assistant Kiki (Jenna Ortega), the worst of the worst just happened. They’re going to jail. Like real jail, jail. Like Kiki says at some point in the film, it’s not the kind of jail made out of toothpicks, made to highlight a profound point about the prison complex. But things take a twist: The doors open, as the art appreciators come in, and everyone seems to not only not notice the dead body on the spike, but they’re taking pictures and praising the work.
Played like a blunt, absurdist comedy, The Gallerist begins to tip over its dominoes, from one insane decision to another, as Polinski attempts to live up to the Andy Warhol quote and tries to sell the piece with the dead body on it. After all, the gallery hasn’t sold a thing in a long time. They have no money, and Polinski has no standing in the industry. After all, the gallery was bought using her divorce money. As she manipulates the people around her to help with this heist-like crime, the film gets more and more ridiculous as more characters come into play.
Catherine Zeta-Jones stuns on screen as Marianne Gorman, Kiki’s aunt and world-renowned art dealer, who sees through the fraud immediately but understands why it would work nonetheless. Polinski’s wealthy ex-husband Tom (Sterling K. Brown) suddenly appears at her gallery, with opinions of his own about the “art piece,” as it goes viral on social media. And then there’s Daniel Brühl as wealthy playboy Cristos, who our criminals are trying to sell the piece to. There’s even a minor appearance by Charli xcx, as Dalton’s girlfriend, who might or might not discover what’s going on.
This surprisingly stacked ensemble does wonders for what is essentially a single-location thriller, like if Birdman had a baby with Alfred Hitchcock’s Rope. Yan and cinematographer Federico Cesca would glide the camera around the halls of the gallery via unique tilted angles. Even in moments of dialogue where two or more actors get to spar and have their nervous breakdowns, the camera and musical score is doing something unhinged. The screen would tilt from a Dutch angle one way to a Dutch angle another way, only to then follow that character out the door or through a wall and bam, we’re on our way again because it’s showtime. It plays off like a deranged runway photoshoot that perfectly accompanies its satirical attitude towards the art world, from the buyers and sellers down to our fame-obsessed culture.
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But Yan remembers to keep the story grounded through the actual – and only – artist in the film, that is Burgess. As an artist whose original piece has now been tainted, Burgess reckons with many difficult ideas. Who is the art really for? What happens if you’re going to be best known for something you’ve never actually made? It’s an introspective and moving performance from Randolph, a much-needed contrast from the narcissistic energy from Portman, the panic from Ortega, and the zaniness from the supporting players.
And all the while, quietly but clearly if one is paying attention, her actual work is being recognized. It is doing what art should be doing: move someone. From the risks at play for Burgess as a Black artist, where the events of the film are completely out of her control, to the people who have a genuine emotional response to her work and what she says, Yan’s thematic ideas are clear as day. Even with the loud, booming noise of fame, attention, and corporate profit, where awful people get away with awful things every day, if we look and listen closely enough, art will always speak to someone.
The Gallerist had its world premiere January 24, 2026 at Sundance and is awaiting distribution.
The Gallerist
Release Date
January 24, 2026
Runtime
88 minutes
Director
Cathy Yan
Writers
James Pedersen
Cast
Natalie Portman
Polina Polinski
Pros & Cons
- It’s a deeply unserious film that embraces the absurdity of its premise and goes all the way with it.
- Cathy Yan makes incredible use out of her single gallery location.
- The stacked cast gives fun, zany performances.
- The cinematography and score are both dialed to 11 on style and silliness.
- It doesn’t forget the most important element of art, which is when a piece made with passion genuinely moves a person.
- The plot is arguably morally bankrupt, as we watch awful people try to get away with an awful thing.
- The over-the-top cinematography and score could be a turn off for some.
- As a satire, it’s very straightforward and unsophisticated.
- It’s a single location absurd premise stretched all the way, so if you’re not on board with the idea, you won’t be on board with the film.
