Passagens

This is a very grounded film that challenges the viewers morality and values. The "Peter Pan" protagonist is a hedonistic director fumbling through love and life and refusing to "grow up". He thinks everyone will accept his choices because he assumes the world is on the same page: reality hits very differently. I like the exploration of queerness in this film and the torments of fluidity.

The performances are quite spectacular, especially by Adèle Exarchopoulous. Time and again she proves to be sexy, vulnerable, exquisite in every frame.

Franz Rogowski has a very Phoenix brothers quality to him and portrays the complex and haunted character very effectively, navigating from sexy, commanding, vulnerable to selfish and self-centered.

A very simple film about very complex humans. I think the cinematography, the casting, the writing, the direction all point to a masterful filmmaking that delves deeply into the contemporary human condition where we all still have a very long way to go before accepting each other for who we are.

"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 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 film 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.

German film director Tomas (Franz Rogowski) and his British commercial artist husband Martin (Ben Whishaw) have been together for 15 years ...quite an achievement, I'd say, given just how immature, capricious and utterly self-obsessed Tomas routinely shows himself to be. Pretty much the only glue holding them together appears to be the fact that, whatever else may have gone stale between them, the sex is still good.

Although the script never explicitly mentions it, it would appear that theirs is an exclusive marriage: i.e. There are no intimations given to suggest that it's an open relationship, in which permission to "play away" has been agreed - so when, out of the blue, Tomas finds himself intensely attracted to a 20-something female schoolteacher called Agathe - an attraction he pursues with typically impulsive selfishness and no regard for anybody's feelings but his own - the impact on Martin (and, in due course, Agathe) is just as seismic as you'd expect.

Essentially what we have here is a portrait of a narcissist, in thrall to his own impulses, manipulative and duplicitous when it suits his purpose, and incapable of facing up to the consequences of his actions. Tomas is a study in arrested development: emotionally he's barely more than a toddler - a little boy who, on seeing a shiny new toy, must have it, and cannot understand why everybody else can't just go with his flow and let him have his way.

It's a tough challenge to play an unlikeable character and still keep your audience invested in them, but Rogowski pulls it off superbly, showing us that Tomas is as much a victim of his destructive personality traits as is everyone else who falls foul of them. As much as I despised Tomas's behaviour, I couldn't help but find myself feeling sympathy for his damaged soul. In that final night-time bike ride through Paris - having lost, by his own actions, everything of genuine value - he is truly heading nowhere.

Addendum: In the course of this movie I learned a frankly jaw-dropping, thing - that, in the 21st century, French schools have appallingly lax security: apparently any random stranger can get on the premises and barge into a classroom!

As you see from the trailer a gay man in a gay marriage has sex with a woman. Don't think you'll find out why. You won't. His gay husband is OK with that. Don't know why. He just seems to sleep with one or the other as he pleases and nobody seems to object. There is almost no pressure on him to choose between them so don't expect any drama. I'm not telling you the ending but it's as calm as the rest of the film. Is he in love with either of them? Don't know. So I am giving it a 6. It's not bad but it doesn't go anywhere and doesn't answer any questions about the characters. Given the potential material it's very disappointing.

Intimacy can be a beautiful thing. However, it can also become something messy, hurtful and emotionally devastating when tainted by self-serving agendas, irresponsible intentions, or reckless, short-sighted experimentation, influences that can purposely or unwittingly end up wreaking widespread havoc. Such is the case in writer-director Ira Sachs's new domestic drama about a flamboyant, free-spirited gay male filmmaker, Tomas (Franz Rogowski), who impulsively jumps into an impromptu fling with a woman, Agathe (Adèle Exarchopoulos), a relationship that leaves his longtime husband, Martin (Ben Whishaw), unsure of what the couple's future might hold. As time passes, circumstances grow increasingly complicated as each member of this unlikely trio tries to sort out what lies ahead, particularly with the emergence of Tomas's ever-growing thoughtless capriciousness. Some viewers may look upon the story's shockingly reprehensible developments as improbable and appalling, but, sadly, as anyone who has ever watched tabloid TV can probably attest, the events depicted here might not appear as far-fetched as one might think. In that respect, this offering presents a bold, courageous, honest look at what can go awry in situations like this, an account loaded with incensed outrage, unbridled ire, biting humor and more than a little cynicism. It's a narrative that some audience members may find offensive, even deplorable, but, like a horrific car accident, it's also something that many viewers might find difficult to look away from, thanks in large part to the wholly convincing performances of the three protagonists. Sensitive viewers should be aware that the film includes a fair amount of explicit and provocative sexual content, so those easily offended by such material may not want to put this one on their watch lists. However, for those who appreciate domestic dramas that hold nothing back and that aren't afraid to get down and dirty in their portrayals of what can happen, this release is about as good as any out there. Just be prepared to be left with your jaw agape - and your head spinning.