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- 2023
- Unrated
- MUBI
- 1 h 31 m
- 2023
- Unrated
- MUBI
- 1 h 31 m
Summary After completing his latest project, filmmaker Tomas (Franz Rogowski) impulsively begins a heated love affair with a young schoolteacher, Agathe (Adèle Exarchopoulos). For Tomas, the novelty of being with a woman is an exciting experience that he is eager to explore despite his marriage to Martin (Ben Whishaw). But when Martin begins his...
Directed By: Ira Sachs
Written By: Mauricio Zacharias, Arlette Langmann, Ira Sachs
- 2023
- Unrated
- MUBI
- 1 h 31 m
- 2023
- Unrated
- MUBI
- 1 h 31 m
Passages
80
6.5
Where to Watch
Summary After completing his latest project, filmmaker Tomas (Franz Rogowski) impulsively begins a heated love affair with a young schoolteacher, Agathe (Adèle Exarchopoulos). For Tomas, the novelty of being with a woman is an exciting experience that he is eager to explore despite his marriage to Martin (Ben Whishaw). But when Martin begins his...
Directed By: Ira Sachs
Written By: Mauricio Zacharias, Arlette Langmann, Ira Sachs
Where to Watch
Top Cast
Metascore
Generally Favorable
Based on 41 Critic Reviews
80
98% Positive
40 Reviews
40 Reviews
2% Mixed
1 Review
1 Review
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 41 Critic Reviews
80
98% Positive
40 Reviews
40 Reviews
2% Mixed
1 Review
1 Review
0% Negative
0 Reviews
0 Reviews
What emerges is a torrid, gripping drama that acknowledges not just what damage the careless can wreak but also to what extent the responsible often conspire in their own annihilation.
This is a smart, lustrous film, and a bracingly honest one, the kind of movie that leaves you feeling both invigorated and a little blue.
User Score
Generally Favorable
Based on 24 User Ratings
6.5
67% Positive
16 Ratings
16 Ratings
21% Mixed
5 Ratings
5 Ratings
13% Negative
3 Ratings
3 Ratings
User Score
Generally Favorable
Based on 24 User Ratings
6.5
67% Positive
16 Ratings
16 Ratings
21% Mixed
5 Ratings
5 Ratings
13% Negative
3 Ratings
3 Ratings
German actor Franz Rogowski opens the film as a somewhat unkind and rather abrupt movie director. He befriends and beds a woman at the wrap party, then goes home to tell his husband about his newfound love. This awkward and discordant triangle focuses primarily on Rogowski's character, as he struggles between the 2 relationships. His nuanced performance is the film's fulcrum, but Ben Whishaw (as the husband) and Adèle Exarchopoulos (the girlfriend) add even more depth. Director Ira Sachs has made appreciating their performances frustrating with his use of static camera placement, sometimes blocking faces. It's also written with brief, often elliptical episodes. There are several sex scenes that are intense and naturalistic without being graphic. This is a complex, compelling drama about the realities and foibles of love and fidelity.
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This is Ira Sach's best film in years, a magnetic, emotional, and hugely watchable exploration of love and sex in the modern age. Those of us who've been following Rogowski for a while have been ready for this, and "Passages" might just be the film that makes him a superstar.
The film makes for a involving and often mordantly funny three-hander, and Exarchopoulos and Whishaw are both superb despite being given the slightly thankless task of clearing things up in Tomas’s wake.
Right down to a final shot that’s scored joyously by a brass band, Sachs delivers an achingly beautiful film that’s sexy, sad and so very French.
Some have likened Passages to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with Christian Petzold’s “Afire”. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.
The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship.
In 'Passages,' Ira Sachs takes us into the sickly and severely toxic dynamic generated by a man who emotionally destroys everyone he gets close to. In that sense, Franz Rogowski is the "heart" of the film; the man who moved us to tears in 'The Great Freedom' here becomes a vile being who manipulates, harasses, and harms his subordinates and his loved ones. The American director and the German actor make a great team designing a character with whom it is impossible to empathize despite his charm and fragile appearance. However, Rogowski's presence becomes a double-edged sword, as he always outshines Ben Whishaw and Adèle Exarchopolulos, who don't generate much interest in their roles. And even when the story becomes redundant towards the end, the film delivers an unconventional exploration of contemporary romantic relationships.
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Part of me hated what this film seems to glorify in some ways, and part of me understood it. However, it's hard to completely agree with a plot that feels somewhat loosely structured, especially when a character's narcissism and toxicity takes center stage, and he remains your main figure and after the damage he did you let him finish the story with a smile on his face while he rides off on his **** it's terrible when this lead character and the rest of the characters are not genuinely interesting, because the story forces us to be uncomfortable witnesses driven by morbidity instead of a legitimate motivation.I wasn't disappointed, but I must say that it fell extremely short of what it could have been.
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Brilliant direction and performances. You could cut the tension with a knife. A complex emotional drama. Some straight people in the theatre (NYC) were clearly uncomfortable- hence the director crushed it.
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Tirando a beleza da Adèle Exarchopoulos e um roteiro que ao menos não cria personagens unidimensionais, tudo o mais está tão irritante neste filme.
Primeiramente, não espere algo filmado de forma não convencional. Não há um plano sequer que seja longe de um folhetim comum televisivo, de modo que a fotografia está tão burocrática quanto os cenários que poderiam ao menos tentar conferir personalidade aos personagens principais.
Entendo, no entanto, a limitação técnica, mas aí passamos para os diálogos e vemos que está muito longe daquilo que se espera. Os dois personagens principais são extremamente mimados e infantis, e e é como portassem um personagem que não casa com o visto em tela, ou pelo menos com todo o potencial que tinham.
Assim, espere por conflitos que beiram a superficialidade de adolescentes, do tipo "ter a chave da casa do pareiro, ir sem avisar e encontrá-lo com outro", ou do tipo "vamos ter um relacionamento mais aberto, mas você está se apaixonando?".
Não estou dizendo que os temas são desinteressantes, ao contrário, mas o caminho adotado na construção dos diálogos deixa muito a desejar, conflitos bobos de ciúme e de pessoas que não sustentam suas decisões explodem na tela, o que faz com que fiquemos com a sensação de que só há picuinhas a respeito.
No entanto, os atores estão no timing certo, e são excelentes contracenando. O olhar que lançam um ao outro, até mesmo a tensão sexual entre eles, ao menos está convincente demais, o que garante boa diversão. Contudo, o desenvolvimento de suas tramas não está à altura. Uma pena.
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