---
title: "Passages"
year: 2023
kind: "film"
canonical: "https://film.one/film/passages"
fi1m_id: "passages"
imdb_id: "tt16252698"
tmdb_id: 898673
wikidata_id: "Q110270018"
fi1m_score: 77
critics_score: 72
critics_reviews: 15
published: "2026-09-10"
updated: "2026-09-18T08:38:05.417478+00:00"
region: "CA"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Passages (2023)

Directed by Ira Sachs · 1h 32m · Romance, Drama

## Identity

Passages

- **Canonical:** https://film.one/film/passages
- **Type:** Film
- **Fi1m ID:** passages
- **IMDb ID:** tt16252698
- **TMDB ID:** 898673
- **Wikidata ID:** Q110270018
- **Same entity:** https://www.imdb.com/title/tt16252698/, https://www.themoviedb.org/movie/898673, https://www.wikidata.org/wiki/Q110270018

**Fi1m score: 77** · Critics 72 from 15 reviews

*In a sentence:* A man in a mesh crop top wrecks two households in ninety minutes and never once suspects he is the problem

> Ira Sachs’s love triangle is short, sharp and superbly acted, with Franz Rogowski as a director who treats other people’s lives as rehearsals. It keeps its distance from everyone, including us, and gives Agathe less than it gives the men.

## Synopsis

Tomas, a film director, finishes shooting in Paris and stays late at the wrap party after his husband Martin goes home. He dances with Agathe, a woman he has just met, goes home with her, and the next morning tells Martin exactly what happened and how much he enjoyed it. What follows is a few months in three lives: Tomas moving between two beds and two flats, Martin deciding how much more he can take, Agathe working out what she has walked into. Franz Rogowski, Ben Whishaw and Adèle Exarchopoulos play the three; Erwan Kepoa Falé is Amad, who comes into Martin’s life. Ira Sachs directs from a script written with Mauricio Zacharias. It runs 92 minutes and carries an 18.

## Review

Tomas (Franz Rogowski) is a film director, and the first thing we see him do is tell a young actor, take after take, how to walk down a flight of stairs. He is not pleasant about it. That night, at the wrap party, his husband Martin (Ben Whishaw) goes home early and Tomas stays to dance with Agathe (Adèle Exarchopoulos), and then to go home with her. Ira Sachs’s *Passages*, written with Mauricio Zacharias, follows the next few months in the lives of these three people in Paris, and does it in 92 minutes without a wasted scene. It is a good film, sharp and well acted, and its one real flaw is that it finds the man doing the damage more interesting than the two people absorbing it.

Rogowski is the reason to see it. He plays Tomas as a man who never stands still: he cycles through the city standing on the pedals, walks into other people’s rooms as if he had paid for them, and wants whatever is not currently in his hands. Khadija Zeggaï dresses him in cropped jumpers and a mesh top that would look absurd on almost anyone else, and on him they read as a dare. He is charming for exactly as long as it takes to get what he came for, and Rogowski lets us see the switch flip every time. It is a horrible performance in the best sense, and we could not look away from it.

Here is the moment that got us. Tomas comes home the morning after the party, climbs into bed with Martin and announces that he has had sex with a woman, and that it was exciting, in the tone of a man reporting a good lunch. We laughed out loud at the nerve of it. Then Sachs held on Whishaw, who says almost nothing, and the laugh went sour in about four seconds, because Whishaw’s face told us this was not the first morning like this and would not be the last.

Whishaw does a great deal with little to say. Martin is tired in a way that has taken years, and Whishaw plays the tiredness first, so that when the anger does come it lands. Exarchopoulos makes Agathe warm, direct and clear-eyed, easily the most likeable person on screen, and the film gives her less than either man: we know what Tomas wants and what Martin has stopped wanting, and we are left to guess at her. Erwan Kepoa Falé, as Amad, a man who comes into Martin’s life, is drily grown-up and a relief whenever he appears.

Josée Deshaies shoots the flats and streets in plain daylight, keeps the camera at arm’s length and lets scenes run without cutting into faces. The sex scenes, which are long and explicit and there are several, are done the same way, in unbroken takes with the camera kept well back, so we watch two bodies negotiate rather than two faces perform. Sophie Reine cuts scenes off a beat before they resolve, which is right for a film about a man who leaves rooms, and occasionally frustrating for us. Pascale Consigny gives Martin a home full of things that took time to gather and Agathe a small, tidy place that Tomas immediately fills. There is almost no music, and the film does not need any.

The distance is also the trouble. Sachs watches these three the way Tomas watches his actors, with interest and without much mercy, and by the last half hour we wanted the film to sit with Martin or Agathe for a scene that was not about Tomas. It rarely does. A dinner with Agathe’s parents goes the way you fear, and is funny, and tells us nothing we did not already know. Against *Keep the Lights On* (2012), Sachs’s earlier film about a man who cannot be trusted with the person who loves him, this is cooler and cleaner and less bruising.

It carries an 18, and it earns the certificate in three or four scenes, none of them gratuitous; the sex is where these people tell the truth, since they will not do it anywhere else. See it, ideally with someone you are not in the middle of leaving.

*Fi1m score 77, published 10 September 2026.*

## What the critics say

Most critics like Passages, and the praise gathers almost entirely around the three leads. Franz Rogowski’s Tomas, a director who wrecks his marriage by sleeping with a young woman, is described again and again as magnetic and loathsome at once, while Ben Whishaw’s wounded husband and Adèle Exarchopoulos’s lover are credited with holding the film steady. The reviews agree it is frank about sex, and that the explicit scenes drive the plot rather than decorate it. Several call it Ira Sachs’s strongest work in years.

The reservations are about Tomas himself. The New Yorker finds the film relentlessly pessimistic, leaving everyone in despair to no clear end, and The New York Times calls it a wince-inducing toxic romance with misery and no resolution. The Wrap thinks the other two are thinly drawn beside him; Deadline finds the sex scenes awkward rather than candid. The spread is fairly narrow, and even the doubters credit the acting.

## Straight answers

**Is Passages worth watching?**

*Passages* is worth watching for anyone who can stomach ninety minutes in the company of a charming man wrecking two households, and we scored it 77. Franz Rogowski is the reason to see it, Ben Whishaw and Adèle Exarchopoulos are the reasons to stay, and the one real flaw is that the film finds Tomas more interesting than the people he damages.

**How long is Passages, and what is it rated?**

*Passages* runs 1h 32m. It is a romance and drama film.

**Where can I watch Passages in Canada?**

*Passages* is streaming on MUBI and Apple TV in Canada, and it is also available to rent from Apple TV from CA$5.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Passages, and is it suitable for children?**

*Passages* carries an 18 in the UK and is not for children or younger teenagers. It is not violent or frightening; the certificate is for several long, explicit sex scenes, shot in unbroken takes with the camera kept well back. The squeamish should know the sex is where these people tell the truth, so it cannot be skipped.

**How does Passages compare to Weekend?**

*Passages* and [*Weekend*](https://film.one/film/weekend) are both short, plain films about men in and around bed, but Andrew Haigh’s is a love story and Ira Sachs’s is a study of a man who cannot stay in one. *Weekend* is the warmer and the truer of the two, and it lets you like its people; *Passages* is the sharper, and it keeps everyone, including us, at arm’s length.

**What should I watch after Passages?**

After *Passages*, try [*Weekend*](https://film.one/film/weekend) (2011, Fi1m 86): Two men, one Nottingham weekend, and talk that matters as much as the sex. Then [*Happy Together*](https://film.one/film/happy-together) (1997, Fi1m 86): Wong Kar-wai’s couple in Buenos Aires, breaking up and starting over in a loop; and [*Jules et Jim*](https://film.one/film/jules-and-jim) (1962, Fi1m 88): The triangle Sachs is quietly answering, with more joy and the same wreckage.

### Reviews we read (22)

- **The i Paper**, Christina Newland (85/100, inferred): The critic describes a sinewy, sexually explicit and beautifully constructed romantic drama full of longing and emotional devastation. They single out the remarkable performances, especially from Whishaw, and the sensual, steamy energy. [Read](https://inews.co.uk/culture/film/passages-review-ben-whishaw-love-triangle-2584107)
- **Empire**, Kambole Campbell (80/100, inferred): The critic calls it a captivating tale of self-immolation and a queasily compelling character drama about a narcissist blowing up his marriage. They single out the excellent performances from the three leads for praise. [Read](https://www.empireonline.com/movies/reviews/passages/)
- **Little White Lies**, David Jenkins (4/4/4): The review calls the film a tantalising romantic car-crash driven by Franz Rogowski's magnetic performance as the self-serving director Tomas. Superb acting from the whole cast and top-notch craft make it involving and mordantly funny. [Read](https://lwlies.com/reviews/passages)
- **Los Angeles Times**, Justin Chang (80/100, inferred): The critic calls it a torrid, thrillingly messy whirlwind of a romantic triangle with major appeal, praising its beautifully acted dynamics and the director's skill at examining relationships. It singles out the central character's magnetic yet loathsome id and a notably candid sex scene. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-08-02/passages-review-franz-rogowski-ben-whishaw-adele-exarchopoulos)
- **Radio Times**, Jayne Nelson (4/5): The film is an excoriating, intelligent study of a selfish man whose actions upend those around him. Rogowski's astonishing performance blending arrogance and vulnerability, and Whishaw's powerful silences, are singled out for praise. [Read](https://www.radiotimes.com/movie-guide/b-raaw7j/passages/)
- **Time Out**, Stephen A Russell (4/5): Sachs delivers a sexy, sad and very French love-triangle drama with elegant Truffaut-like flair. The critic singles out the deft handling of collapsing relationships, expressive framing and standout performances, especially Exarchopoulos in a key scene. [Read](https://www.timeout.com/movies/passages-2023)
- **Evening Standard**, Charlotte O'Sullivan (70/100, inferred): The critic finds it a sensitive, superbly acted turbulent love triangle and a rousing return to the New Wave, with particular praise for Ben Whishaw. They note it takes a while to ignite and Tomas's behaviour can be wearing. [Read](https://www.standard.co.uk/culture/film/passages-movie-review-ben-whishaw-ira-sachs-adele-exarchopoulos-b1103804.html)
- **The New York Times**, Amy Nicholson (50/100, inferred): The critic portrays the film as a wince-inducing toxic romance in which a needy, selfish filmmaker inserts himself into a destructive love triangle. It highlights the central character's petulance and the resulting misery without resolution. [Read](https://www.nytimes.com/2023/08/03/movies/passages-review.html)
- **The New Yorker**, Anthony Lane (40/100, inferred): The critic describes the relentlessly pessimistic film as an unhappy portrait of shifting destructive lusts in a love triangle that leaves characters in chaos and despair. It singles out the lead performance for its vehemence amid the film's Freudian bleakness. [Read](https://www.newyorker.com/magazine/2023/08/14/passages-movie-review-lady-killer)
- **Financial Times**, Danny Leigh (★★★★☆): The critic highlights the film's clear-eyed portrayal of a complex multilingual love triangle with insight and emotional heft, noting superb performances from the lead trio. They single out the way the film keeps the frame wide for all three characters rather than centering the narcissist protagonist. [Read](https://www.ft.com/content/6b72f167-d8f9-4f7b-adf1-c38b80dbacca)
- **Sight and Sound**: The critic highlights Ira Sachs's interest in tangled couple dynamics and praises the film's sensual exploration of a destructive love triangle centered on Tomas. Strong performances from Rogowski, Whishaw and Exarchopoulos, along with expressive long shots and wardrobe details, are singled out. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/passages-second-look-review-ira-sachs-pushes-limits-pleasure-this-sensual-three-hander)
- **The Guardian**, Peter Bradshaw: The critic praises the film as a fiercely sexy and piercingly sad return to form for Sachs, a sophisticated love triangle exploring desire and resentment among young Parisians. They single out the exhilarating performances and the film's focus on the plot-driving explicit sex scenes for particular note. [Read](https://www.theguardian.com/film/2023/aug/30/passages-review-ira-sachs-strikes-gold-with-sophisticated-love-triangle)
- **The Hollywood Reporter**, Jon Frosch: The critic describes the film as a wise and unusually wounding work from a beloved indie auteur, centering on an insufferable narcissist whose toxic behavior wreaks havoc in a love triangle. It singles out the lead performance by Franz Rogowski for its ferocious yet shaded portrayal of desperation and magnetism. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/passages-review-franz-rogowski-ben-whishaw-adele-exarchopoulos-ira-sachs-1235306865/)
- **Variety** (Critic's Pick): The critic deems it Ira Sachs's most brutally honest film in years, a warts-and-all study of a narcissistic director sabotaging his marriage through a destructive affair. It praises the stellar cast's ability to convey the trail of emotional destruction in this close-to-home drama. [Read](https://variety.com/2023/film/reviews/passages-review-franz-rogowski-ben-whishaw-1235499935/)
- **Vulture**: The review calls the film a sexy, maddening, too-short movie about a terrible boyfriend whose manipulations drive the story, noting it feels like a companion to Sachs’ earlier work on toxic relationships. It singles out Franz Rogowski’s animal allure and the performances of Ben Whishaw and Adèle Exarchopoulos for grounding the chaos. [Read](https://www.vulture.com/2023/08/passages-review-a-sexy-movie-about-a-terrible-boyfriend.html)
- **/Film**, Barry Levitt (8.5/10): Ira Sachs' film stands out for its fantastic performances, especially Franz Rogowski as the frustrated director, and its refreshingly effective, sensitive sex scenes that explore intimacy intelligently. It is a magnetic and hugely watchable examination of love and sex in the modern age, marking one of Sachs' best works in years. [Read](https://www.slashfilm.com/1181729/passages-review-the-sexy-scintillating-sundance-standout-sundance/)
- **The Playlist**, Charles Bramesco (85/100, inferred): Ira Sachs delivers an irresistible, emotionally realistic portrait of a bisexual narcissist whose self-absorbed affairs create a messy love triangle with his husband and a new lover. The film excels through sharp casting, writing, and performances that capture the raw cycles of passion and reconciliation. [Read](https://theplaylist.net/passages-review-ira-sachs-sundance-20230123/)
- **Collider**, Ross Bonaime (B): The critic praises the film's exploration of complicated relationships and the lack of easy answers, brought to life by three strong performances. They highlight the electrifying presence of the lead character and the shared pain and connection among the trio as particularly compelling. [Read](https://collider.com/passages-movie-review/)
- **Eye for Film**, Amber Wilkinson (70/100, inferred): Sachs examines a narcissistic film director whose impulsive affair disrupts his marriage and a new relationship, highlighting the manipulative dynamics and emotional toll. The physical intimacy is portrayed with equal emphasis in both relationships, underscoring how couples can become trapped in toxic patterns without realizing it. [Read](https://www.eyeforfilm.co.uk/review/passages-2023-film-review-by-amber-wilkinson)
- **The Wrap** (60/100, inferred): The critic notes that the film lacks depth and connection due to its surface-level focus on a narcissistic protagonist, leaving other characters underdeveloped. The cast, especially Adèle Exarchopoulos, keeps things vibrant and lively. [Read](https://www.thewrap.com/passages-review-ira-sachs/)
- **Deadline** (55/100, inferred): The critic finds the relationship drama exciting in parts but ultimately frustrating due to its awkward sex scenes, unlikeable lead character, and odd script choices. It maintains a nice pace and is never boring despite the flaws. [Read](https://deadline.com/2023/01/passages-sundance-review-ira-sachs/)
- **Paste**, Jacob Oller (8.5): The critic calls it a venomous, sexy queer romance that deftly captures the havoc wreaked by a narcissistic lead in messy non-monogamous dynamics. They single out the naturalistic sex scenes, sharp dialogue, and impeccable performances that make the flawed characters believable and the emotional fallout cathartic. [Read](https://www.pastemagazine.com/movies/sundance-2023/passages-review)

## Details

- **Director:** Ira Sachs
- **Director:** Ira Sachs
- **Writer:** Ira Sachs, Mauricio Zacharias
- **Cinematography:** Josée Deshaies
- **Editor:** Sophie Reine
- **Production design:** Pascale Consigny
- **Costume design:** Khadija Zeggaï
- **Producer:** Saïd Ben Saïd, Michel Merkt
- **Cast:** Franz Rogowski as Tomas; Ben Whishaw as Martin; Adèle Exarchopoulos as Agathe; Erwan Kepoa Falé as Amad; Théo Cholbi as Jérémie; Arcadi Radeff as Dimo; Léa Boublil as Erica; Thibault Carterot as Thibault
- **Runtime:** 1h 32m
- **Release (Canada):** 11 August 2023
- **Genres:** Romance, Drama
- **Box office:** $1 million
- **Trailer:** https://www.youtube.com/watch?v=BEry0hQ5J-8

## Where to watch in Canada

- MUBI: streaming, hd
- Apple TV: add-on, hd
- Apple TV: rent CA$5.99, hd
- Apple TV: buy CA$14.99, hd

*Checked 2026-09-10.*

Also available in: AR, AT, BE, BR, CA, CL, CO, DE, DK, FI, FR, GB, IE, IN, IT, MX, NL, NO, PA, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Keep the Lights On* (2012): Sachs’s earlier, rawer film about loving a man who keeps disappearing.
- *Weekend* (2011), Fi1m 86: Two men, one Nottingham weekend, and talk that matters as much as the sex. — [Fi1m page](https://film.one/film/weekend.md)
- *Happy Together* (1997), Fi1m 86: Wong Kar-wai’s couple in Buenos Aires, breaking up and starting over in a loop. — [Fi1m page](https://film.one/film/happy-together.md)
- *Jules et Jim* (1962), Fi1m 88: The triangle Sachs is quietly answering, with more joy and the same wreckage. — [Fi1m page](https://film.one/film/jules-and-jim.md)
- *Great Freedom* (2021): Rogowski again, quieter and just as physical, in a West German prison.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/passages