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Passages

6.6

/10

14416 notes

2023•1 h 31 m•France

A gay couple's marriage is thrown into crisis when one of them impulsively begins a passionate affair with a young woman.

Drama

Romance

Acteurs (18)

Adèle Exarchopoulos

Erwan Kepoa Falé

William Nadylam

Thibault Carterot

Caroline Chaniolleau

Agatha's Mother Edith

Jérôme Dauchez

François Boisrond

Martin's Assistant #1

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15/11/2023 16:33

"Tomas" (Franz Rogowski) and husband "Martin" (Ben Whishaw) find their marriage severley tested when the former man starts to fall for "Agathe" (Adèle Exarchopoulos) and that passion drives "Martin" into the arms of "Amad" (Erwan Kepoa Falé). What now ensues is, frankly, a rather dull introspective of characters that didn't really leap off the screen at me. Rogowski can be a charismatic actor, but here he offers us a rather unremarkable characterisation of a horny man who wants to have his cake and eat it. Whishaw is, routinely these days on screen, just a bit weedy and presents another weakly constructed individual who seems content not to fight for the man he's supposed to love. It's all just rolls along without really catching fire, it's over-scripted and though it may well have a visual authenticity to it, it's all just a bit so what? The production and pacing all contribute to the general ennui of the whole thing and to be honest, I was just a bit disappointed with this whole thing. I saw it at the cinema this week, but I suspect even the most ardent fans of these three can wait for a television screening.

Sy_ Chou

09/10/2023 16:00

This movie's faint appeal as a post-modern take on a love triangle seems exhausted by the implausible image, featured in many promotional cards, of Franz Rogowski's sneering Tomas jazz-snuggling up to Adèle Exarchopoulos' Agathe on a dance floor. Tantalizing, but no, the film does not explain how this pair makes any chemical, emotional, or even symbolic sense. Franz Rogowski has a convincing restraint and charisma as an outsider in films like "In den Gängen" or "Transit," but here, cast in a sexual melodrama (between characters Tomas, Martin, and Agathe) as a self-obsessed bourgeois, he acts as if he were a guy who manages a cable company by day and was hired for this film because of his eyebrows. That said, Rogowski has little in the script to work with: why any character should care about this selfish oaf is head-ache-making opaque. The script tempts Rogowski into an egotistical flatness, his voice a monotonous whine, whose musical equivalent is a beginner's huffing atonally on a saxophone, alone. The character knows no boundaries. Part demon-child, part mindless fungus, he one minute halts ordinary conversations imperiously and the next shows up uninvited (opening doors himself), babbling needy demands in somebody's dwelling or workplace. Aiming for the top edge of the goal, the filmmakers instead deliver Tomas as a kind of compound of all the silly-shirt, night-scene poseurs in the history of Saturday Night Live, going back to Dan Ackroyd's "wild and crazy guy," Bill Hader's Stefon, and the Roxbury Guys of Ferrell and Kattan. However, Tomas's nylon tank and midriff-baring macrame-top collection beats all of these SNL figures in a race to "ridiculous." We are supposed to believe that a woman, played by Adèle Exarchopoulos, who recalls Monica Vitti and Anna Karina in her voluptuous elegance, toughness, and vulnerability, is obsessed with a sniveling, narcissistic twit, a dying fire-pit of acrid banalities. Unsurprisingly, after about five minutes of film time, Exarchopoulos resonates an odd fatigue incompatible with Agathe's allegedly incandescent fascination with Tomas, and she betrays a glowing concern that the actress, not the character, is in a bad dream: this movie. Ben Whishaw as Martin is such a maestro that he is the only one of the three (in other work excellent) principal actors who can bring himself fully to the script with a believable, developing, pained realization, but the film at large is so full of abrupt, nonsensical leaps of mood and commitment that the whole exercise could be a workshop in which the players were challenged to vitalize premises that make scant sense. Another film that much more convincingly allows the wonderful Adèle Exarchopoulos to play on a plane of "nothing left to lose" is Rien à foutre (2021).

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08/10/2023 16:10

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Dinar Candy

08/10/2023 16:00

A boy, a narcissistic bisexual and a girl... Magnificent acting around a nothing story... It's talking about love with no emotions! Only sex... Just float around like pendulum... If you are spending so much money in production, at least try to make it interesting...! This much monotonous movie... Just one thing was marvellous, that was acting... What's worse? Story, background music, cinematography... You can sleep over during the movie and still can tell what happened in movie... Some irrelevant backstories... Just watch whatever trash we are showing... So, if you have lots of time to spend.. nothing better to do in life or a fan of Adele.. watch this movie.. or, hell run out...!!!

kiddyhalieo

08/10/2023 16:00

No pun intended - if you know how her name is spelled (in the movie), you may understand. Or maybe not - it is in my head and I reckon my humor ... which sometimes does not translate well. And that is a good way to jump into the movie ... some things seem lost in translation .. actually most of the dialog is ... superficial! It is what you could call small talk - if you were kind to it. That said, I am sure it is on purpose. Artists who are unable to express themselves in real life! A director who is still a kid ... unsure, jumping from one thing and excitement to another. Again no pun intended - our main actor ... someone compared him to Peter Pan ... which I reckon is what I saw with the child in him ... though in a bad way and not so playful as Peter I reckon. The actors are really good, especially Adele ... since I saw her in Blue I became a fan. Gorgeous, yet so broken and capable to play so many different nuances and characters ... mostly broken ones ... but yes so really good ... and the movie seems to have more to discover. I think apart from the dialog being so ... "flat" is as much on purpose as other things, like the mirrors used. There is a scene in a cafe, where we see the outside passing us by ... in one direction .. and then in the other ... all because of the mirrors that are used. The manipulative main character ... sometimes knowingly, sometimes I reckon just being who he is, does a lot of damage ... but also brings a lot of joy too. Talking of joy ... while there is no real nudity (male bare back aside), the movie has two (actually three) scenes that those who are sensitive will have issues watching. Intercourse, especially the intense kind is or rather can be wild to watch. And the second one ... well depending on your moral core may upset you even more. The third one is mostly audio ... but it might be the one that finally breaks you ... it does so with one character ... seeing the truth ... better late than never? Well you'll be the judge ...