(spoiler free)
German actor Franz Rogowski is currently in the midst of an exciting rise to fame. In the last number of years he’s starred and impressed in, among others, festival favourite, Undine (2020) and Austria’s 2022 Oscars entry for Best International Feature, Great Freedom (2021). He’s got plenty in the pipeline too, with upcoming projects including Andrea Arnold’s Bird, where he’ll be starring alongside Barry Keoghan. His latest film, however, sees him collaborate with Ben Whishaw and Adèle Exarchopoulos, for Ira Sachs’ steamy new romantic-drama, Passages.
Rogowski plays Tomas, a pedantic and somewhat erratic film director who lives together with his husband, Whishaw’s Martin, in their Paris apartment. After wrapping production on his latest film (also called Passages), Tomas begins a sexual relationship with Exarchopoulos’ Agathe, which causes friction between him and Martin. Yet, this surprising new connection isn’t the first sign of tension between Tomas and Martin. There’s an already existing strain on their marriage made evident from the off, one which Tomas’ subsequent actions will stretch to its limits.
After Charline Bourgeois-Tacquet’s Anïas in Love (2021), it would seem that French romantic-dramas focusing on queer love triangles are very much in, and what a welcome change of pace for the genre and cinema’s canon of queer characters. When it comes to Passages, whether it be through their stylish fashions – Rogowski’s crop top deserves special mention – or their progressive attitudes, there’s a strong sense of modernity embedded in its characters.
However, Sachs and fellow writer Mauricio Zacharias use their screenplay to explore how the presence of this modernity doesn’t necessarily equate to maturity in all those who embrace it. This is seen nowhere more than with Tomas, who often lets his selfish desires take precedence over thought and care for others. In doing so, Passages captures the messy nature of lust and love in modern relationships and demonstrates how strongly, above all else, circumstances can influence our romantic lives.
With his superb portrayal of Tomas, Rogowski continues his recent string of notable performances. As despite his frustrating impulses, unpredictability and unreasonable expectations of others, Rogowski brings the crucial charm – equally as intrinsic to Tomas’ personality as his flaws – that’s required to understand just why he’s so effortlessly endearing to others. Exarchopoulos further demonstrates this, conveying Agathe’s attraction to Tomas with ease. Overpowered by their lust for one another, Exarchopoulos and Rogowski make for an electric on-screen duo.
Whishaw is just as impressive though. As while Martin is often so cruelly cast aside, Whishaw’s performance gives him the respect he deserves yet so frequently fails to receive from his husband. At first displaying Martin’s exasperation with Tomas, before eventually again succumbing to the allure of his free spirit, Whishaw exhibits such a fully-realised portrayal of love, relationship and knowing your worth within them both.
This trio brings the film’s complex and well-written love triangle to life with much style and confidence, and while Passages has been sold first and foremost as a sexy film, it’s offering far more than just erotica. Of course, it has its moments: several scenes will certainly leave audiences appropriately titillated, and rightfully so. But Sachs balances this passion with a really grounded, mature and realistic approach to his storytelling – providing some rather sobering observations and imagery on sex and relationships.
Consequently, Sachs could well encourage some claims that he’s criticising the contemporary relationships that he so candidly presents. Although in reality he never takes aim at them or the modernity that they represent, but rather those who are not yet emotionally mature enough to responsibly partake in them. Which in all sincerity, is the indefinitely more accurate and damning take.
Written by Hamish Calvert
★★★★
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