Clair-obscur

Brilliant actress/activist Tessa Thompson And Eduard Grau with his great cinematography

Although I personally don't like the fact that movies are shot in black and white and 4:3 in the 21st century, it was the appropriate choice for this movie.

Although the movie sometimes escapes to clichés, I loved the narrative language.

This movie is just one of a hundred reasons to fall in love with Rebecca Hall.

Rebecca Hall's directorial debut is impressive, to be sure. She proves with Passing that she has a sure hand behind the camera, capturing genuine human connection and emotion with very limited cuts.

The characters and their interactions provide thoroughly thoughtful material that causes one to wonder what-if anything-would ever be able to truly satisfy them in life, and what sort of wishes would bring nothing but heartache if they did come true.

It seems that Hall had a little too much on her mind, as some of the conflict between characters is quite rushed, leaving motivations vague, and it doesn't come across as strong as it should.

Overall, I'm impressed and I look forward to what Hall does next.

Passing, based on a novel of same name, is a promising story. The premise is unique and draws attention towards a significant aspect of history. And hence makes this adaptation particularly challenging. On certain aspects the film suceeds but the film carries certain fundamental flaws of storytelling which prevents it from being something extraordinary.

Coming to positives, this film is excuisitly pictured. Each frame is designed like a painting. The performances are magical. And the music is enchanting.

But the problem lies on storytelling. In a hurry to adapt the whole novel as it is, certain nuances of character building are missing. The writing is not clear enough to present the ideas it is trying to implement. Sometimes even certain stylistic choices hinders the narrative.

The film starts very well but it fails to captivate in between.

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.

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.