Passages Review - Melbourne International Film Festival
Passages is an intimate look into pure self involvement juxtaposed with the exploration of connection, two that are not mutually exclusive.
Hailing from New York, writer-director Ira Sachs orchestrates a narrative that embraces both messiness and humour, creating a somewhat vexing yet captivating perspective on contemporary relationships.
Taking centre stage is Tomas, played by German actor Franz Rogowski, a Parisian film director who serves as the film's focal point. The initial scenes promptly establish the tone and impending tale, delving into the dynamic between Tomas and Martin (Ben Whishaw, English), a relationship that already carries its own complexities. The introduction of Agathe (Adèle Exarchopoulos, French) injects an element of chaos that ripples through Martin, setting the stage for an unpredictable journey. Tomas oscillates between the two with little respect or regard for either, leaving the audience to question the potential for any of them to find solace.
Tomas's conduct throughout the film is bound to incite a unique brand of exasperation, akin to the few characters capable of evoking such sentiment. He is a tempestuous narcissist, well-acquainted with the art of having desires effortlessly fulfilled. This portrait remains unaltered, casting a shadow over his character that challenges any connection the audience might establish with his actions and rationale.
His self-absorption is a glaring facet of his persona, marked by an inflexibility that dictates how others should adhere to his desires. An instance as audacious as arriving late in day old mesh crop top for a meal with prospective in-laws encapsulates his disposition in hilarious fashion.
The narrative's stride falters in moments where pivotal conversations seem to have eluded the viewer's lens, leaving them grappling with a sense of confusion rather than fostering individual interpretation. This lapse impairs the story's flow, resulting in it feeling jumbled and unclear instead of intentionally mysterious.
Quiet disillusionment takes root within marriages, as evidenced by the film's trajectory, echoing the relatable themes of budding resentment and the fracturing of boundaries akin to personal breakups. Amidst this turmoil, the need for crucial decisions persists, exemplified by Martin's desire to sell the country house, in direct contrast with Tomas's inclination to preserve it. The logistics of their financial situation, accommodating a country house and a Parisian apartment, linger as a subtle query.
The film’s trajectory does evidence the quiet disillusionment that can take root in a marriage or any relationship. The budding resentment and fracturing of boundaries will echo breakups much of the audience have been through in the past. Amidst this turmoil key decisions still need to be made. Martin wants to sell the country house, Tomas wants to keep it. The audience may be left wondering, how did a screen printer and a relatively unknown director afford both a country house and apartment in Paris in the first place?
In the tradition of works featuring Ben Whishaw the audience gets a good view of his bum. Humour aside this film does do well in more accurately representing queer sex and allowing the screen time that hetero sex scenes have always had the privilege of. The only critique would be that sex scenes of all forms in this film went on for just a touch longer than they needed to to add value to the story.
Cinematographer Josée Deshaies deftly captures these scenes in a single shot, luring the audience into these intimate moments. Comparatively engaging erratic motion to the more chaotic crescendos in the latter parts of the film.
Passages encapsulates a multifaceted emotional journey that, despite its occasional frustrations, ultimately delivers an engaging cinematic experience, one that may easily touch on sensitivities for some.
