Arriving at the Berlinale with his sixth Panorama-selected film, Ira Sachs’ Passages is a deliriously sexy, competition-worthy melodrama that’s both unexpectedly funny and heartbreakingly sensitive. Giving off so much heat that even the coats worn in the film might get you feverish (costume designer Khadija Zeggaï working overtime), this story of an untenable ménage à trois and its tragic consequences explores the self-serving, destructive nature of love that we nonetheless keep chasing just to feel that fire again.
“Can you really say that you’re in love with me?” It’s as much a challenge as a question that director Tomas (Franz Rogowski) puts toward his husband Martin (Ben Whishaw), after confessing that following the wrap party of his latest movie, he slept with Agathe (Adèle Exarchopoulos). Martin waves it away, sighing, “This always happens when you finish a film, you forget.” Clearly, he’s been in this position before, but this time things are different. Tomas and Agathe can’t keep their hands off each other, and soon feelings develop to the point that boxes are being packed and arrangements about the future of shared property are being decided. Initially, Tomas feels confident in his new relationship until Martin starts dating author Clément (William Nadylam) setting off waves of uncertainty and jealousy that leave Agathe stuck in the middle.
While Tomas and Martin attempt to navigate the shifting landscape of their marriage utilizing the contemporary language of emotionally self-aware and modern lovers, the script co-written by Sachs and regular collaborator Mauricio Zacharias knowingly knocks at the hollow core that can often be at the center of those conversations. For all their attempts to maturely talk things through, Tomas’ actions don’t follow, placing his pleasure and needs first before considering the consequences on either Martin or Agathe. Whether he’s oblivious or cunning, Martin probably falls somewhere in between, likely not even aware himself of deeper motivations behind his machinations, except for what it gives him in the moment. Even when he admits to Agathe, “I can be terribly self-involved,” it’s only to open the door to her inevitable forgiveness, not a revelation of personal insight.
Often playing like a comedy of manners, Passages frequently deploys big laughs within low key set pieces (a lunch between Tomas, Agathe, and her parents is particularly memorable). Fantastic as always, Rogowski finds the right notes of petulant and pompous, a complete cad whose horniness casts a spell of attraction so powerful that it’s completely understandable that whoever he directs it toward is instantly bewitched. Whishaw and Exarchopoulos, at the opposite ends of his pendulum, turn in quietly winning performances as they try to maintain dignity in the face of unending turmoil. They provide the film’s biggest bruises, a climatic scene between the pair beautifully played to devastating impact.
Underneath the roiling surface of the various relationship contretemps, Sachs and Zacharias weave some fascinating thematic subtexts. Set in Paris, both Tomas and Martin are outsiders as German and British citizens, respectively, adding an intriguing extra layer to the identity crisis facing their relationship. And the notion of a film director — or any creative — finding themselves unmoored between projects, while nothing new, keeps Tomas from simply being a complete narcissist. Instead, it creates a nifty blurred line between his creative and personal pursuits, that work in perfect balance until one slips away.
Unfortunately left unexplored is how class comes into play between the trio. Tomas is a recognized filmmaker, Martin owns a sought-after printshop — together, they earn enough to have a flat in the city, and own a house in the countryside. Agathe, however, is a schoolteacher, and how that factors into her expectations, fears, or commitment with Tomas is left unacknowledged, even as those issues can play a critical role in a potentially serious relationship.
Passages presents a look at sexuality and companionship that’s very 2023, but whose concerns about what keeps us together and tears us part are timeless. The old Bible verse says that love is patient, love is kind….you know the rest of it. But the picture deeply understands that love is also irrational, frightening, ecstatic, and beautiful, and that if it lasts for even one night, it’s a bit of a miracle.
Director: Ira Sachs
Screenplay: Ira Sachs, Mauricio Zacharias
Cast: Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos
Producers: Saïd Ben Saïd, Michel Merkt
Cinematography: Josée Deshaies
Production design: Pascale Consigny
Costume design: Khadija Zeggaï
Editing: Sophie Reine
Sound: Anne Gibourg, Cyril Holtz, Thomas Gastinel
Production companies: SBS (France)
World sales: SBS
Venue: Berlin Film Festival (Panorama)
In English, French
91 minutes
