Passages
The movie is set in modern Paris, and although you never really get any sense of location from what's on screen, it still feels somehow right that this kind of drama between these kinds of sexy people should play out in France. Tomas (Franz Rogowski) is a young German auteur filmmaker who radiates attraction and easy sensuality, even despite the movie almost immediately making it abundantly clear that he is also a huge asshole. He is pure hedonistic chaos, seemingly able to want and have it all while the people closest to him just kind of go with it. He is technically married, but well, also very available. His husband Martin (Ben Whishaw) is a much gentler and level-headed fellow, seemingly okay with many of Tomas' shenanigans, but clearly frustrated that he isn't treated with more consideration and respect.
Tomas meets a young teacher Agathe (Adèle Exarchopoulos) at a party, sleeps with her, and comes home the next morning to enthusiastically tell Martin, “I had sex with a woman. Can I tell you about it?” Whether or not Tomas and Martin's relationship is truly open is never explicitly revealed, but Martin is clearly not plussed about it, and eventually leaves Tomas for a mutual writer friend. Tomas moves in with Agathe, enjoying the honeymoon phase of sex and novelty but still showing up to Martin's house unannounced, clearly jealous of Martin receiving attention from someone else. Agathe is suspicious of Tomas telling her that he loves her and seems to be just along for the ride while it's still fun, but things change once Agathe gets pregnant and the ideas of commitment and adult responsibility start to hover over the entire situation.
Sachs has such an understanding of human nature and realistic dialogue that he's able to create set pieces of conversation or arguments that pack the kind of intensity that you'd usually find in an action movie. A standout scene takes place when Tomas meets Agathe's parents, who aren't able to suppress their disapproval of how Tomas looks and acts, openly doubting that he would be able to support their daughter and her child. Tomas is offended, perhaps rightly so, but the audience also knows what Tomas is and can't help but side with the parents. It's a wonderfully tense scene that will probably unearth unpleasant memories for any viewers who have had similar family arguments.
What's fascinating is that Martin and Agathe are intelligent, reasonable people, completely caught in the wake of Thomas' energy. They aren't willing to let themselves get completely steamrolled by Tomas, but they also can't quite let him go. They still hold hope for some kind of a relationship with Tomas and are willing to give him chance after chance, which is frustrating for the viewer (because we are rooting for Martin and Agathe and want something better for them) but also fairly understandable; we know Tomas is a jerk but we also kind of get it. Most of us have been with or know someone who has been with someone like Tomas, with equal parts magnetic energy and exasperating childishness. Even as we are yelling at the screen, desperately wanting Agathe and Martin to finally see the rapidly spreading fire around them, we can't do anything but watch until it eventually burns itself out.
Franz Rogowski is wonderful as Tomas, maintaining an almost childlike innocence and exuberance as he moves from one pleasure to the next, treating life like it's his own personal playground. When he behaves in a way that is manipulative or sneaky, you aren't exactly sure if he deliberately means to be that way or if he doesn't consider any of his actions to be wrong. It's a tricky line to walk as it risks the viewers hating him outright (which some might do) even as we're supposed to understand his appeal. I would guess the movie won't work as well for those who don't, although the ending scenes might satisfy either way.
It's a simple story about a love triangle, yes, but also a fairly original way to examine the complexities (and even the absurdity) of human attraction. Maybe the movie doesn't spend enough time getting in the heads of Martin and Agathe so we can understand why they even give Tomas the time of day, but it's almost appropriate, as even we the viewers can only be sucked in Tomas' vortex like everyone else.
