Review: Like so many films of its ilk, “Passages” exerts its seductive pull by way of good-looking actors, quietly elegant surfaces and situations drenched in cosmopolitan good taste.
On its exceedingly attractive surface, “Passages,” which Sachs co-wrote with Mauricio Zacharias, obeys the strictures of a classic triangle. Put simply, the characters reveal themselves through their behavior: Tomas, possessed of childlike egocentrism and an impressive collection of crop tops and bespoke sweaters, wants what he wants, when he wants it, and lashes out the minute he doesn’t get it; the more restrained Martin has healthier boundaries, even if he doesn’t always enforce them.
So much, so predictable. But in Sachs’s sensitive hands, “Passages” becomes something new and strange, not least because the filmmaker is so willing to forthrightly address the consuming sexual attraction that pulls and pushes the three protagonists at nearly every turn. Like so many films of its ilk, “Passages” exerts its seductive pull by way of good-looking actors, quietly elegant surfaces and situations drenched in cosmopolitan good taste.
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