Avaliações do Metacritic

Adroit casting, writing, editing, performing and costuming shade the outline of an affair to a finely sharpened emotional realism, the cycles of fighting and reconciling we’ve all seen before regaining in rawness as if we’re now the ones living through it.

With the steadfast lack of melodrama we’ve come to expect from him, the writer-director packs more incident, life and unassuming complexity into 90 minutes than most filmmakers muster in twice that run time.

Passages is this close, painful, sexy twisting of the screws at its best, as Sachs and his frequent co-writer Mauricio Zacharias observe the havoc wreaked by a bisexual brat’s latest dalliance.

Ira Sachs’ radiantly sexual three-hander Passages couldn’t have assembled a finer trio of actors to explore modern love in all its splendor and messiness.

The raw and resonant Passages is the kind of fuck around and find out love triangle that rings true because we aspire to its sexier moments but see ourselves in its most selfish ones.

Rogowski makes for a believably odious yet charming cad while Whishaw and Exarchopoulos neatly underplay their heartbreak, subtly showing the toll of putting up with someone who mistreats you and then putting up with yourself for allowing it.

Its dramatic heft and its stars’ upfront audacity make it a sexy proposition in every respect.

Sachs excels at investigating thorny, uncomfortable situations, and he treats all three characters fairly here, which allows audiences to decide which one they identify with.

The abruptness, the willfulness, the ferocity of Passages reflect, more than any other film by an American director that I’ve seen in a while, the influence of Pialat.

The actors, working from a script by Sachs and Mauricio Zacharias, and swept up in Sachs’s characteristically perceptive, subtle dramatic style, make the whims and wills of these people feel consistent and predictable, which is to say, true to life.