PASSAGES is a steamy tale of a romantic triangle in which a Paris-based German filmmaker (Franz Rogowski) strays from his marriage to his British husband (Ben Whishaw) by starting an affair with a beautiful young French woman (Adèle Exarchopoulos). Yet when the cheated-on husband starts his own affair with another man, the filmmaker is suddenly jealous and wants him back. Tomas can’t seem to make up his mind.
That premise might sound like a modern romantic comedy (and in fact the director describes it as comedy-drama) but there is little humor in this emotional drama about toxic love with an unreliable character at the center of this triangle. What humor does exist is of the bitter variety, or perhaps driven by ridiculousness of the quirky artist at the center of this romantic mess. However, PASSAGES does insightfully and honestly explore the complexity of love, conflicting desires, and heartbreak in a beautifully-shot, excellently-acted, steamy drama set in contemporary Paris.
After its debut at Cannes, PASSAGES was hailed as one of the festival’s best. American director Ira Sachs, whose previous films include LOVE IS STRANGE, has crafted a visually lush film with an intimate story of love, sex and heartbreak, with compelling performances and a distinctly European feel for what is really an American movie. The gifted cast is superb, with Ben Whishaw (WOMEN TALKING, PERFUME), Franz Rogowski (TRANSIT), and Adèle Exarchopoulos (BLUE IS THE WARMEST COLOR) all delivering nuanced, moving performances. This is a drama for adults, and the film’s steamy sex scenes (gay and straight) and casual nudity earned it an NC-17 rating.
In PASSAGES, we meet temperamental film director Tomas (Franz Rogowski) as he is completing his latest film – and berating an extra in that last scene. At the wrap party at a bar, Tomas meets up with his husband Martin (Ben Whishaw), a graphic designer with his own successful printing business. When Martin goes home early, Tomas impulsively picks up and then sleeps with a beautiful young woman, a teacher named Agathe (Adèle Exarchopoulos). The novelty of sleeping with a woman excites Tomas, who even wants to describe the experience to his husband – not something Martin wants to hear. Martin quickly packs a bag, and as he departs, he says to Tomas, “You’re always like this after you finish a film,” but he also assures the upset Tomas he’ll return. Yet, instead of being contrite for his philandering, Tomas goes back to the woman he slept with, Agathe. Agathe, who has since learned Tomas is married, rebuffs him but passionate Tomas wears down her resistance and they start an affair. When Tomas moves in with her, it seems Martin and Tomas really are done – until Martin starts dating another man. Tomas, suddenly jealous, sets out to win his husband back but without letting his new lover know about it.
If you require a likable lead character for a film, this one is not for you. Tomas is manipulative, demanding, and completely self-centered. He also is not particularly charismatic or beautiful yet he seems to have a hypnotic effect on these two attractive people, both of whom are both better looking than he is. The film suggests that his appeal springs from the fact that he is a talented, and maybe famous, film director but other than that opening scene of him shooting his movie and a few references to screenings and the Venice film festival, we don’t get much sense of that.
In large part, the excellent performances carry this film. Ben Whishaw, in particular, gives powerful yet nuanced performance as Martin, a man whose wishes and desires sometimes cloud his judgment, as he hopes to hang on to his marriage. Rogowski plays Tomas, the troublesome yet strangely fascinating character at the center of this heartbreak, with bravura, creating a mercurial, expressive artist who seems irresistible to those around him but who always puts his own desires first. Adèle Exarchopoulos gives a touching performance as an otherwise rational woman caught up in Tomas’ promises that play on her dreams.
So why watch? Despite its toxic central character, PASSAGES is a brilliantly-directed drama with excellent performances, that explores the power of toxic romantic obsession. We all either have experienced, or have known friends who experienced, love affairs with the wrong person, someone obviously bad for that person, yet someone who exerts an overwhelming romantic power. It is the other two people in this triangle who are both attractive and appealing, much more than the person at the center of this romantic mess. Our sympathies are with Martin and Agathe, and it is caring about these people that keeps us involved in how this tale works out. For Martin, it is love that once worked turning sour, while for Agathe, it is an exciting new love that promises to fulfill dreams. Neither Martin nor Agathe are simple or easily fooled, and Tomas turns himself into knots as he wheedles his way into their affections over and over, often playing on those dreams as he does. We sense that they know on some level they shouldn’t trust him, but people in love rarely think rationally. Director Sachs effectively keeps us on the edge of our seat, waiting to find out how this will all turn out, whose heart will be broken, who will get everything he/she wants, and if Tomas will pay a price for his chaos.
Director Ira Sachs’ film feels European, particularly French, as it explores this toxic romantic landscape, spinning around this self-absorbed director and his surprising hold on two different people. This drama centers on these two attractive, appealing people who are somehow fall under the spell of this self-absorbed, selfish character. Maybe it is the hypnosis of fame and talent, as we see the director finishing up his latest movie, a scene where he badgers an extra with no clear purpose. Except for a couple of references to screenings and a planned trip to Venice for the film festival near the end, we don’t get much feel for that allure.
While this is not your film if you don’t like films with unlikable central characters, PASSAGES is for you if you like hot and steamy sex scenes and casual nudity. The sex, gay and straight, is plentiful and graphic enough for that NC-17 rating. The scenes are erotic but they have a kind of mechanical aspect and emotional distance to them, so calling the scenes passionate might be misleading.
PASSAGES is set in Paris but we never see the expected iconic sights. It does immerse us in its social life, giving it a feel more like the view of the city of people who actually live there. The fashions, and use of color, are part of the film’s appeal, with the film’s visual aspect providing a kind of relief from the toxic behavior of the central character.
Rich photography gives the film a visual style that is as haunting as the story of these two nice people addicted to one impulsive man. The film uses blue and orange, in nearly every scene, opposite colors that seem to represent opposing forces, often with cool, steady peacock blue against a rich, wild deep orange. Ben Whishaw’s Martin, is often clothed in or surrounded by that deep, soothing peacock blue, suggesting his usually-calm personality and true-blue nature, until he and Tomas seem finished. In contrast, Rogowski’s Tomas and Exarchopoulos’ Agathe are often in orange, representing an opposite value of change and fiery feeling. On top of that, Tomas favors entertainingly unpredictable, outrageous fashion choices, which often seem geared to be expressions of his creative nature. At other times, they are glaringly wrong for the social situation, such as when he meets Agathe’s more traditional parents for the first time, showing up late and wearing a dragon-patterned, sheer cropped top paired with outrageous pants. It makes an impression, but not the reassuring one he told Agathe he wanted to make.
And yet, despite all that, PASSAGES is a worthwhile film, brilliantly-made and with fine, moving performances, that offers an intriguing, well-constructed film about people in toxic love.
PASSAGES, partly in French with English subtitles, opens Friday, August 11, at Landmark’s Plaza Frontenac Cinema and in other theaters nationally.
RATING: 3 out of 4 stars
