A German director named Tomas (Franz Rogowski) resides in France. Tomas has been married to Martin (Ben Whishaw from No Time to Die) for a while, but after finishing his last movie, he decides to start dating Agathe (Adèle Exarchopoulos). Although Tomas is unwilling to acknowledge this development and would rather concentrate on his own feelings, he wants to talk about it. Agathe and Tomas continue their romance, but Tomas is restless. When Agathe's pregnancy is made known, Tomas takes advantage of the circumstance to bring Martin and her into his life, with messy consequences.
Tomas' sense of control is contrasted in certain passages. Tomas is the boss and his desires are unquestionably met on the set of his movie. He knows what he wants and gets it. In his private life, this is not the case. Tomas makes several attempts to keep Agathe and Martin under his thumb. He presents himself as the victim in the scenario and manipulates and withholds information to maintain this control. Tomas is a complicated character because he believes he understands exactly what he wants but is so absorbed in himself that he is not aware of how his actions harm the people he professes to care about.
Tomas is superbly portrayed by Franz Rogowski as a narcissistic individual who wants to exert power over others. When pushed, Rogowski's Tomas is envious, fragile, or easily irritated, and the actor fully embraces these characteristics. In their smaller roles, Adèle Exarchopoulos and Ben Whishaw both perform admirably. While Agathe is composed and collected in Exarchopoulos' performance, Martin in Whishaw is dependable and kind. Their one scene together—possibly the most crucial—brings the movie together wonderfully, and the actors deliver.
Sachs has created a complex, suspenseful drama that doesn't sugarcoat the chaos of its central love triangle and also avoids some clichés. As a result, a heartbreaking, accurate portrayal of a relationship gone wrong and the desperate attempts to mend things at the expense and disdain of others are produced. Despite Tomas' monotonous acts, the movie moves along well. Passages contains quite a few shocks and, more significantly, offers sharp commentary on relationships and the ones that are left to pick themselves up after perceptions, expectations, and trust are completely broken. It is somewhat predictable, but it also has quite a few surprises.
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