![]() Much of Red Sparrow operates as a cat and mouse thriller in which audiences are forced to repeatedly second guess Dominika’s motivations. There are no accidents, he will make Dominika his, and when one understands this, the cloak-and-dagger affair between Lawrence’s aloof heroine and Joel Edgerton’s surprisingly easy CIA target makes so much more sense in the third act. His school his world his clutches and his influence. One act of justifiable rage and violence will lead her to come to him for help, which in turn leads to another “misfortune” in which her role as a seducer of a Russian oligarch will become an ultimatum: death or Sparrow School. If one wants to be charitable, Vanya would seem to be putting his brother’s daughter on the road to vengeance, but from that moment he already has designs on her for Sparrow School. ![]() If she wants cosmic justice, she will have to take it herself, especially when he reveals evidence he’s acquired proving that Dominika’s injuries were the result of her ballerino co-star, a man who caused her accident so that his lover could assume the prima position. Not in his line of work, and not in Dominika’s life. He laments her tragic fate after an accident on the stage… before stating there are no accidents and there is no fate. ![]() And when he comes bearing supposedly happy tidings, he is in essence making his first overture of “courtship” to Dominika in the most repulsive of ways. Vanya, as per Dominika’s mother (Joely Richardson), has always leered at his niece, even when she was but a girl.
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