Passages (2023)

Ira Sachs' new film is a tale of love, heartbreak, and piercing narcissism in Paris. Concerning a love triangle between a gay married couple and a heterosexual woman, Passages wallows in resentment and selfishness almost for the duration, intersected by some truly beautiful moments that could impressively double as hatred or frustration. Tomas, a superb but capricious young director whose mood swings we see in operation from the opening scene as he lays into an actor whilst attempting to shoot a scene, is married to Ben Wishaw's Martin, an artist and printer, who from the off looks a little tired with Tomas' lifestyle and behaviour. At the films' opening, just after the aforementioned shoot, Tomas is celebrating the wrap of his film at a party, and is irritated when Martin tells him he has to leave, needing to get up early the following morning. Tomas, upset and annoyed, begins dancing with Agathe, who he ends up going home and having sex with. There's no attempt from Tomas to hide what he's done, he opens up almost immediately to Martin, asking him to help him figure things out, leaving us wondering what the exact nature of their relationship is. There's no doubt Martin is evidently hurt by Tomas' infidelity, but the casualness of the scenario initially offers possibilities to the exact sexual allowances that the pair are party to within their marriage. One thing that does stick out from their conversation regarding Tomas' adultery is that he never apologises- a shortcoming that is the first clue to his burgeoning narcissism. Martin begins to draw into himself, whilst Tomas, almost unbelievably, continues the affair with Agathe openly-not necessarily oblivious to the hurt he's causing Martin- more that his self centered nature doesn't allow him to open up channels within that don't revolve around him. Martin begins an affair of his own with an author, one who Tomas has previously met and branded an "arrogant prick". But the confusion and frustration, and the love that clearly lingers somewhat between the two comes to the fore within the much discussed sex scene, after they've had people over for dinner (including Agathe) in the rural cottage they co-own. Whilst Agathe is made to listen through the wall as she curls up on her bed evidently distraught, Martin and Tomas rekindle whatever is left of their relationship for what is surely either redemption or finality. Whilst the scene may be explicit, as it proceeds we see Tomas' understanding of the moment as elation and passion, but for Martin, whose back is to the camera throughout, his motives are harder to glean. There's certainly grains of love and passion in his lovemaking, but without doubt elements of anger and frustration, perspicuous given the situation. Tomas can't seem to decide what it is he wants, or how he truly feels. Is he still in love with Martin? Does he love Agathe? In true narcissistic fashion, he wants both, and struggles to comprehend why Agathe and Martin are hesitant to make things work as a triangle, one in which the only person who truly benefits is Tomas. Ben Whishaw will be well known to many in the UK, not least for taking the baton of Q in the James Bond franchise, and he's absolutely sublime here. Every emotion is vivid both openly and inwardly as he contemplates and comprehends Tomas' actions, questioning how much of his behaviour and attitude it's acceptable to forgive. Franz Rogowski might be less known outside his native Germany, but that's surely going to change, if it hasn't already. Rogowski is a superb actor on the top of his game here, perfectly capturing a narcissist attempting to get exactly what he wants, struggling to understand when others disagree with him, and wallowing in self pity when things don't go his way, blaming everyone but himself. For those unfamiliar with Rogowski, some of his recent roles include a turn in Terrence Malick's gorgeous A Hidden Life (2019), as well as a fantastic display as a refugee impersonating a dead writer in attempt to flee a fascist state in Christian Petzold's excellent Transit (2018). Ira Sachs has produced arguably one of the years best films, with a tale of sexuality brimming with resentment and passion driven by astonishing performances by Wishaw and Rogowski, with a splendid display from Adele Exarchopoulos as Agathe matching the two leads. 8.3/10