Isn’t it crazy how some of the most unlikable people are also some of the most charismatic? I personally find myself drawn to stories with these kinds of characters at the center. Director Ira Sachs’s (Keep the Lights On) latest film examines an impulsive narcissist and the chaos he causes to his romantic entanglements. All three of our protagonists are caught at a certain moment in their lives where everything might and could change. The immediate now. Passages is a realistic story where the lines of want and need are blurred by emotion. This lack of emotional fulfillment propels our characters into situations with devastating consequences. 

Tomas (Franz Rogowski, Transit) is a volatile film director whose wild escapades seem to be too much for his long term partner Martin (Ben Whishaw, The Lobster). At the wrap party for his latest film, which is also titled Passages, Tomas becomes entranced by Agathe (Adèle Exarchopoulos, Sibyl). The two sleep together, further opening him up to a world of new experiences. Throughout the remainder of the film’s runtime, Tomas falls in and out of love with both partners as guided by his everchanging whims. 

The film is not judgmental, but rather an observation of people trying to better grasp their own self interest. Tomas wants to live an unadulterated life, but is unable to comprehend the consequences of his actions. Him having an affair doesn't seem to surprise Martin, but the fact that it was with a woman does. Despite Tomas’s best efforts to share his experience, Martin is too stunned to make sense of it. As the passion between Agathe and Tomas continues to grow, Martin feels increasingly abandoned. He craves a less complicated and more loving relationship, but soon realizes that it cannot be with his husband. 

In a perfect world, Tomas would have the tyrannical power to direct his life like it’s just another one of his films. In uncomfortable moments, such as the dinner with Agathe's parents, he wishes to yell cut but is unable to do so. Rather than dealing with these challenging feelings he moves on without taking into consideration those around him. It’s almost as if he has a difficulty recognizing that his lovers are real people outside of the convoluted relationship he’s constructed. 

Sachs captures these powerful raw moments in simple domestic spaces. The intensity that can be found in a cafe or bedroom is unmatched. As Tomas and Martin experience one of the most sensual and erotic experiences ever depicted on film, Agathe is on the other side of the wall contemplating her own existence. It’s a heartbreaking experience to look into her teary eyes. They act as a reminder of the persistent separation, the triad is never able to fully integrate as a whole.

Rogowski’s brash, egocentric, asshole of a character may be at the core of the film, but it’s his lovers who were the center of my focus. Not even his adorably slutty knitwear could divert my attention from these true stars. My gaze would constantly be drawn towards Exarchopoulos. Trying to see if there will be a reaction from her, a fight for attention, yet she remains still. In the absence of any words, her composure and restraint speak volumes. Same with Whishaw. Their courage to surrender to failure, to embrace the loss, and to push forward was a heroic reminder to never stake everything on an unwinnable battle. 

Longing for love, the desire for love can be so selfish. Passages depiction of a gay relationship’s attempts at absorbing a third is ever so proof of that. The film is a 90 minute drama about intimacy, need, desire, love, difference, and being human. Or in other words, this is a darkly humorous story about pretty people having sex and being shitty to one another. 

Acting and Casting - 2 | Visual Effects and Editing - 2 | Story and Message - 2| Entertainment Value - 2 | Music Score and Soundtrack - 2| Reviewer's Preference -2 | What does this mean?