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★ 6.620231h 31m

Passages

DrameRomance

Il s'agit de deux hommes qui sont ensemble depuis quinze ans et de ce qui se passe lorsque l'un d'eux a une liaison avec une femme.

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Core release details, quality markers, and stream status stay together here instead of floating below the fold.

DrameRomance

Année

2023

Durée

1h 31m

IMDb

6.6

Playback

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Release2023

Runtime1h 31m

IMDb★ 6.6

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Casting

Ira Sachs

Director

Franz Rogowski

Tomas Freiburg

Ben Whishaw

Martin

Adèle Exarchopoulos

Agathe

Erwan Kepoa Falé

Amad

Arcadi Radeff

Dimo

LB

Léa Boublil

Erica

Théo Cholbi

Jérémie

William Nadylam

Clément

TD

Tony Daoud

Tony

SL

Sarah Lisbonis

Sarah

Anton Salachas

Elias

TC

Thibault Carterot

Thibault

TG

Theo Gabilloux

Young Actor

Caroline Chaniolleau

Agatha's Mother Edith

JD

Jérôme Dauchez

Wine Executive

FB

François Boisrond

Artist No. 1

KM

Kylian Moison

Artist No. 2

CG

Chloé Granier

Martin's Assistant #1

Mauricio Zacharias

Writer

Ira Sachs

Writer

AL

Arlette Langmann

Writer

Bande-annonce

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Commentaires

10 commentaires

Abdulkadir Asmau YammamaAug 24, 2026

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IhP8nPAug 21, 2024

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Miss Jey ArtsJul 15, 2024

sangitalamaJul 15, 2024

Keffas👣Jul 15, 2024

abhikumarNov 15, 2023

"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's 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 whole thing 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.

Sy_ ChouOct 9, 2023

This movie's faint appeal as a post-modern take on a love triangle seems exhausted by the implausible image, featured in many promotional cards, of Franz Rogowski's sneering Tomas jazz-snuggling up to Adèle Exarchopoulos' Agathe on a dance floor. Tantalizing, but no, the film does not explain how this pair makes any chemical, emotional, or even symbolic sense. Franz Rogowski has a convincing restraint and charisma as an outsider in films like "In den Gängen" or "Transit," but here, cast in a sexual melodrama (between characters Tomas, Martin, and Agathe) as a self-obsessed bourgeois, he acts as if he were a guy who manages a cable company by day and was hired for this film because of his eyebrows. That said, Rogowski has little in the script to work with: why any character should care about this selfish oaf is head-ache-making opaque. The script tempts Rogowski into an egotistical flatness, his voice a monotonous whine, whose musical equivalent is a beginner's huffing atonally on a saxophone, alone. The character knows no boundaries. Part demon-child, part mindless fungus, he one minute halts ordinary conversations imperiously and the next shows up uninvited (opening doors himself), babbling needy demands in somebody's dwelling or workplace. Aiming for the top edge of the goal, the filmmakers instead deliver Tomas as a kind of compound of all the silly-shirt, night-scene poseurs in the history of Saturday Night Live, going back to Dan Ackroyd's "wild and crazy guy," Bill Hader's Stefon, and the Roxbury Guys of Ferrell and Kattan. However, Tomas's nylon tank and midriff-baring macrame-top collection beats all of these SNL figures in a race to "ridiculous." We are supposed to believe that a woman, played by Adèle Exarchopoulos, who recalls Monica Vitti and Anna Karina in her voluptuous elegance, toughness, and vulnerability, is obsessed with a sniveling, narcissistic twit, a dying fire-pit of acrid banalities. Unsurprisingly, after about five minutes of film time, Exarchopoulos resonates an odd fatigue incompatible with Agathe's allegedly incandescent fascination with Tomas, and she betrays a glowing concern that the actress, not the character, is in a bad dream: this movie. Ben Whishaw as Martin is such a maestro that he is the only one of the three (in other work excellent) principal actors who can bring himself fully to the script with a believable, developing, pained realization, but the film at large is so full of abrupt, nonsensical leaps of mood and commitment that the whole exercise could be a workshop in which the players were challenged to vitalize premises that make scant sense. Another film that much more convincingly allows the wonderful Adèle Exarchopoulos to play on a plane of "nothing left to lose" is Rien à foutre (2021).

Colombe kathelOct 8, 2023

Dinar CandyOct 8, 2023

A boy, a narcissistic bisexual and a girl... Magnificent acting around a nothing story... It's talking about love with no emotions! Only sex... Just float around like pendulum... If you are spending so much money in production, at least try to make it interesting...! This much monotonous movie... Just one thing was marvellous, that was acting... What's worse? Story, background music, cinematography... You can sleep over during the movie and still can tell what happened in movie... Some irrelevant backstories... Just watch whatever trash we are showing... So, if you have lots of time to spend.. nothing better to do in life or a fan of Adele.. watch this movie.. or, hell run out...!!!