Rated R. At the Coolidge Corner.

Kinky and notably meta, “Sanctuary” places two very beautiful people played by rising American stars Margaret Qualley and Christopher Abbott on the screen in very provocative BDSM circumstances and asks us if it is “real,” manufactured by one of its players or just actors playing roles for the camera.

Can it be all of those things? Is it a more pretentious “50 Shades of Grey?”

Meet Hal Porterfield (Abbott). He’s the heir to a hotel chain dynasty. He lives in the sort of splendor that appears to have been conjured up in the mind of an interior decorator specializing in posh hotel suites. We hear him order a ridiculously indulgent dinner ending with a hot fudge sundae. What is he, 12? He has a dominatrix for hire pretending to be a lawyer named Rebecca (Qualley, “Fosse/Verdon”)). It isn’t long before her true identity is revealed and the fireworks begin…in the bathroom.

Directed by New York City-based film director, Tisch School of the Arts graduate and film critic Zachary Wigon (“The Heart Machine”) and written by Micah Bloomberg (“Homecoming”), “Sanctuary” reminds me of the work of Rian Johnson (“Knives Out”) insofar as Wigon’s work thinks it is very clever. But it is often also very tedious.  As you might imagine, a lot of the dialogue involves Hal and Rebecca playing mind games on one another and the audience. But, again, do I really care if the business landing in Hal’s lap by way of inheritance has a “board of directors” or not? “Sanctuary” often comes across like the kinkier, but also less interesting episode of “Succession.”

What keeps this little two-hander kink-off going is the talent and screen presence of Qualley (“Once Upon a Time in Hollywood”) and Abbott (“Possessor”). Qualley, who looks much better without the obvious blond wig she wears in opening scenes (Why?), demonstrates a brilliant command of her very expressive face.  Abbott for his part, has the spoiled heir/rich mama’s boy bit down pat. He informs Rebecca that since his fearsome father has died and he is moving up the chain of command to take over the business, he wants to end their association since he now has a reputation and a dynasty to protect. Rebecca does not want to hear it, especially now that she has made drastic changes in her life to accommodate Hal and his needs. In effect, she has become addicted to their kinky game-playing. It comes down to blackmail and how much Hal is willing to pay to keep Rebecca happy.

The plot of “Sanctuary” is not important or surprising. You watch it because Qualley, who also served as an executive producer, and Abbott are just about two of the most watchable actors of the moment. Her vacant-eyed, Manson-follower temptress in “Once Upon a Time in Hollywood” looked like she could have had Brad Pitt for lunch. Twitchy music by Ariel Marx (“Shiva Baby”) is another plus.

(“Sanctuary” contains sexually suggestive scenes, profanity and some violence)