Passing

I dont really know what to think about the movie. It have a great ambience and atmosphere and the look white and black is pretty well made. But you need to be warned that the movie is very slow and threat a racial theme. But i didnt find any purpose of this movie and what it want us to think about it. I found 2 womens talk about their lifes and what they loved. Its like two friends who just meet and. Spend times together. Social condition is mentionned but i found it pretty superficial. It still pleasant to watch and some shots were pretty interesting but it clearly lack of storytelling. The visual lack also of storytelling and purpose. Still have a good moment to watch it but nothing more. I didnt find any messages or moral about the movie or surprise. The end is pretty rushed i suppose and it end pretty quick in my opinion. A little bit disappointing about the movie. I excpected more mysteries, suspense and more but nothing at all.

Greetings again from the darkness. "We're all passing for something or other." Irene (played by Tessa Thompson) speaks the line that cuts to the quick of Nella Larsen's 1929 novel, adapted here by first time writer-director Rebecca Hall. We are familiar with Ms. Hall's many film projects as an actor, and her debut as a director shows immense promise. Ms. Larsen's novel was inspired by her own life as a mixed-race woman.

It's Irene whom we first see as 'passing' as white as she visits a retail store and takes tea at a fancy restaurant that most assuredly would not serve her if her light complexion and drawn-down hat were not hiding her true self. Cinematographer Eduard Grau has the camera track Irene's darting eyes that are trained to notice potential trouble. Her gaze stops on a woman seated alone. There is a familiarity between the two and soon, Clare (Ruth Negga) has joined her long-ago childhood friend, Irene, at her table. While Irene "passes" when it's necessary, she clearly identifies and lives as an African-American - married to Harlem doctor Brian (Andre Holland). Clare, on the other hand, is living a lie. She has permanently "passed" as a white woman, marrying John (Alexander Skarsgard).

The film's best scene occurs when Clare takes Irene home and introduces her to husband John. His vile, racist nature immediately shows, creating a tense moment filled with excruciating and subtle exchanges of knowing glances between Clare and Irene. It's a dangerous moment and we aren't sure where it's headed. What is clear is that a childhood bond may exist between the two ladies, but there is now a void that can never be filled. But what happens is that Clare finagles her way into the lives of Irene and Brian (and their kids). What we see is that Clare finds the 'honest' life quite enticing. Allowing herself to be who she is ... dropping the façade ... energizes her. Racial identity and sexuality are at stake here, and so are class and culture.

Bill Camp plays a pompous writer named Hugh who always seems to be hanging around the parties and events of Irene. One of the best lines of the film occurs after Bill asks someone why they are hanging around. The answer is brief and insightful, and cuts to the quick. It's a strong debut film from director Hall. It has a dreamlike look and excellent performances from the two leading ladies. The grey area in life is teased, and we do wish the dive had been a bit deeper on Irene and Clare, but that ending is one that will stun you - even if you're expecting it.

Streaming on Netflix.

It's beautiful and stylish but it's disappointing. It has a really interesting idea and seems promising at first but then takes a stupid boring turn. In spite of some powerful lines, the screenplay is dull. Performances are very good. It has some good parts but it's flawed, it's a missed opportunity.

Passing had me worried going in. With Rebecca Hall's directorial debut, this seemed like something that could go well or horribly wrong. What we've all learned from this is that Rebecca Hall is no longer just a good actress, but also a director. A novel adaption, the film follows the unexpected reunion of two high school friends, whose renewed acquaintance ignites a mutual obsession that threatens both of their carefully constructed realities. There's a lot to digest here. The script is really thought provoking. It deals with race, gender, sexuality, and much more - sometimes even without mentioning it. Today's climate has evolved so much since the 20s (I believe it's the 20s), but this all still feels so relevant. Tessa Thompson and Ruth Negga give incredible performances. Truly some of the best work they've done. André Holland has a supporting role that he also does well with. Every frame has something to say, whether it's symbolic or straightforward. The use of gorgeous black and white cinematography at a 4:3 aspect ratio speaks so much. The production design is pleasing to look at along with the costumes. It's a really beautiful film to look at. I liked Passing a little more than most. Some have felt the slowness is too much and that it's too quiet. I did think it take a minute to get into but I thought this was extremely well made. A minor issue I had was with the sound. They all talk so quietly that it can be hard to hear sometimes. Hall explained during the Q&A that she intended it to be quiet, but it could've used more work. Honestly, I think we have an early awards contender for next year. The film speaks about race in a way no other has.

"Passing" is an admirable freshman directorial effort from actress Rebecca Hall, but the film feels too tightly controlled to ever fully come alive.

Ruth Negga (looking a bit like Joan Blondell) and especially Tessa Thompson give strong performances as two old friends and maybe more who run into each other again in New York City after years apart. Negga's character is passing for white and has married a vile biggot. Thomspson's character is in a sexless marriage with a doctor and is living a well to do life in Harlem. The act of passing in a racial context is the catalyst for the movie's plot, but the film explores the ways in which all of us are passing for something. It asks the question: Can those we love ever truly know us, and further, can we ever truly know ourselves?

A large number of Americans right now seem to be having trouble dealing with reality as it actually exists, so I thought a movie about people creating their own realities in an effort to make their lives better, or at least more comfortable, would feel more immediate and tuned in to the times. But Hall keeps such tight control of the reins that the film can't breathe. It's like she wanted so much to avoid any missteps with this sensitive issue that she inadvertently sucked the life out of it.

Still, the movie does have some things to recommend it. I've mentioned the performances, but it also looks gorgeous, filmed in pristine black and white by Eduard Grau. I'm excited to see what Hall does next, because she has a terrific eye. She just needs to relax.

Grade: B.