Complicated romance has been at the core of writer and director Ira Sach’s work across his career and is revisited once again in indie drama Passages. Set in modern day Paris, the plot follows German filmmaker Tomas (Franz Rogowski) as he is finishing up on his latest feature. Feeling neglected by his husband Martin (Ben Wishaw) at the wrap party, he meets schoolteacher Agathe (Adèle Exarchopoulos) on the dancefloor and they share a night of passion. This tryst leads to a love triangle where the three wrestle with their evolving emotions.
Plot wise, this is quite a straightforward story but the narrative complexity comes from the manipulative behaviour of its narcissistic protagonist. Tomas is an impulsive creative that expects the same control in his relationships that he has in his career as a director. This charismatic arrogance appears to be part of his appeal until it isn’t, and the brittle bonds that he builds then breaks are compelling to observe. Sex is a huge part of this film, and the intimate scenes directly inform the storytelling as we see very different sides to Tomas’ personality through these moments; his body language alters between lovers, comforted by the shared history with Martin and excited by the thrill of a new connection with Agathe. “Even your face is ugly now” he is told as his charm wears off, in a quietly powerful encounter.
With the visual style of a French social-realist picture, Sachs finds cool contemporary spaces for his perceptive script to play out and his unfussy approach lets the acting do the talking. Rogowski is terrific in a portrayal of an unlikeable person that manages to draw people into his sphere. To an extent, he casts a spell over us, the audience, too as every interaction is engaging even when he’s making frustrating, reckless choices. Wishaw and Exarchopoulos are equally formidable in their supporting roles, each expressing a beautiful vulnerability, chewed up and spat out by Tomas in different ways.
There’s an honesty to Passages that feels refreshingly authentic, Sachs recognising and more importantly normalising the messy lifestyles we often lead. Through this lens, his toxic love triangle is dangerously spiky, artfully abstract, but shaped into something special by the central trio of performances.
Cinema Perspective 