“Simple yet emotionally complex”

The intensity of emotion can often be a challenge to articulate, particularly when it is difficult for those who are experiencing it to comprehend what they are feeling themselves. This idea is precisely what Ira Sachs’s latest film Passages is interested in, with its story set in France and following two men whose lives become strained by external passion. When viewers are first introduced to married couple Tomas (Franz Rogowski) and Martin (Ben Whishaw)—one of whom makes films while the other makes prints—they are in what seems to be a happy domestic relationship. However, things become significantly more complicated after Tomas meets Agathe (Adéle Exarchopoulos) during a night of dancing and drinks at a club, and the two of them end up sleeping together. While Tomas is excited about this new development, eagerly telling his husband about his experience with a woman, Martin is less than thrilled. This act of infidelity creates a fracture between the two, and Tomas finds himself confused by desire as he attempts to pursue relationships with both Martin and Agathe.

At one point, Agathe comments on how she disappears when she is between Tomas and Martin, but it should be noted that Exarchopoulos herself far from vanishes. As a young schoolteacher who becomes the object of Tomas’s affections, the French actress delivers arguably the film’s most charismatic performance. The dinner scene between Tomas, Agathe, and Agathe’s parents (Caroline Chaniolleau and Olivier Rabourdin) is a particular highlight, with fast-paced, humorous dialogue and an awkwardness that is palpable through the screen. Rogowski and Whishaw are excellent as the film’s two leads and their scenes are rife with tension, especially since their characters’ perspectives towards their relationship are in stark contrast. While Tomas still feels a strong emotional connection to his husband, Martin behaves in a far more aloof manner towards him. His words and actions make it clear that what was once a mutual intimacy has become one-sided, and he is no longer interested in having any form of relationship with Tomas— romantic or otherwise.

Much of the advertising for the film has drawn attention to its sexual nature, and there are indeed several risqué scenes throughout where nudity takes center stage. But even though sex and passion are often thought of as being interlinked, the film makes it clear that this is not always the case. There are several instances where characters are shown connecting on a kinetic level, their bodies moving in time with one another during these moments of physical intimacy, only for it to become apparent that they are in very different places emotionally. This is especially true of Tomas and Martin, whose relationship no longer exists outside of when they fall into bed together, making such scenes somewhat uncomfortable to watch. While shot from behind rather than giving a full-frontal view, it feels almost voyeuristic as viewers are privy to moments where intimacy feels performative— scenes of lust rather than pure love.

Simple yet emotionally complex, Passages is at its best when it truly allows the characters’ feelings to unravel. The film does not pass judgment in this regard, instead choosing to present the events that transpire from an objective standpoint— Tomas’s decision to have an affair with Agathe is not condemned, and neither are Martin’s actions in response. Audiences are made to feel sympathy for both men at various points, as well as for the woman who has become entangled in their lives. Ultimately, Passages is a well-constructed film about grappling with complicated emotions and exploring how the relationships between people can change as they unexpectedly enter and exit one another’s lives.

Director: Ira Sachs

Producers: Saïd Ben Saïd, Michel Merkt

Cast: Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos

Release date: September 1