A bisexual brat wreaks havoc in Passages, the latest brilliantly observed relationship drama from Ira Sachs. JacobOller's Sundance2023 review:
, Ira Sachs brings beautiful devastation. The thorny relationships he usually explores push on boundaries of monogamy, of commitment, of what it means to be with someone and stay with them through the complexity of years. The pressure he exerts on these limits—necessarily drawn with more give for queer people, particularly gay men—the love that ebbs and flows throughout this adversity, and the limits themselves stagger us with their realism.
Given to whims and his own ego, Tomas leaves his bookish, quiet husband Martin behind at his film shoot’s wrap party in order to hook up with a rebounding extra, Agathe . It’s not that this is explicitly forbidden within the definition of their marriage. We understand that not only does Tomas tend to do this kind of thing, especially when faced with any kind of real-world stress , but that they’ve talked about how to respectfully navigate trysts. Tomas doesn’t do this respectfully.
All three performers are impeccable. Whishaw is a miserable waif, worn down by his husband’s bullshit. Exarchopoulos’ eggshell-walking softness finally hardens after a series of callous-building frictions. And Rogowski torments them both, striking the only balance between jealous, selfish and winningly boyish that could possibly make us believe that anyone would want to stay around him.
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