--- title: "Passing" year: 2021 kind: "film" canonical: "https://film.one/film/passing" fi1m_id: "passing" imdb_id: "tt8893974" tmdb_id: 541524 wikidata_id: "Q75034904" fi1m_score: 80 critics_score: 76 critics_reviews: 24 published: "2026-10-03T02:21:06.006127+00:00" updated: "2026-10-03T02:21:06.601222+00:00" region: "EE" 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." --- # Passing (2021) Directed by Rebecca Hall · 1h 38m · Drama ## Identity Passing - **Canonical:** https://film.one/film/passing - **Type:** Film - **Fi1m ID:** passing - **IMDb ID:** tt8893974 - **TMDB ID:** 541524 - **Wikidata ID:** Q75034904 - **Same entity:** https://www.imdb.com/title/tt8893974/, https://www.themoviedb.org/movie/541524, https://www.wikidata.org/wiki/Q75034904 **Fi1m score: 80** · Critics 76 from 24 reviews *In a sentence:* Tessa Thompson and Ruth Negga make the pauses in a conversation feel like the dangerous part > Rebecca Hall’s *Passing* is an unsettling drama carried by Tessa Thompson and Ruth Negga, whose silences deserve close attention. Its careful manners sometimes dampen the tension, but we recommend it for the uneasy intimacy between its leads. ## Synopsis In Harlem, Irene Redfield (Tessa Thompson) is caught between envy and longing as she regards Clare Kendry (Ruth Negga). Irene’s world also includes Brian Redfield (André Holland) and John Bellew (Alexander Skarsgård), but her attention keeps returning to Clare. She tries to understand the other woman while contending with fears and insecurities of her own. Conversations leave important feelings unspoken, and the attention the women give one another complicates any simple explanation of their relationship. Questions of racial identity sit alongside questions of desire, with Irene’s perceptions shaping what can be understood about either woman. ## Review Rebecca Hall’s *Passing* is an absorbing drama, even when its restraint becomes excessive. Working from a novel by Nella Larsen, Rebecca Hall puts Irene Redfield’s fascination with Clare Kendry at the centre of a story about racial identity and desire. Much depends on our willingness to study Irene as closely as she studies Clare. Tessa Thompson and Ruth Negga make that an invitation worth accepting. Tessa Thompson plays Irene with a composure that never looks comfortable. The effort of keeping her feelings contained is always there, and her attention to Clare leaves us wondering how much she understands about herself. We felt uneasy during the silences between them, because Irene’s scrutiny seems too intense to be harmless. Tessa Thompson makes that discomfort precise without reducing it to a single emotion. Envy, attraction and fear can all occupy the same look. Ruth Negga gives Clare enough allure to make that attention understandable, without making her simply an object for Irene to study. There is a person here whose wants matter, even when we cannot confidently name them. Their chemistry gives the conversations a charge that the dialogue does not always manage on its own. The performances allow us to entertain several explanations for an exchange, and neither actor appears to be waiting for the screenplay to settle the matter. Eduard Grau’s black-and-white cinematography keeps the women compelling to look at without making them easy to read. The delicacy of the greys suits the performances, while the enclosed feel of the images makes such close attention uncomfortable. Nora Mendis’s production design contributes to that controlled atmosphere, though its refinement can occasionally make the people seem too carefully placed. We are most interested when an expression threatens to upset the composure of the picture. Sabine Hoffmann’s editing gives the performances time to register, and the patient pace usually earns its keep. We can follow a change in feeling without having a line of dialogue explain it immediately. Dev Hynes’s music leaves less of an impression than the faces, which feels the right proportion for this film. At 98 minutes, *Passing* has room to pause; the trouble comes when a pause seems to repeat what the previous one has already told us. Some of Rebecca Hall’s dialogue is too decorous for the feelings underneath it. Conversations occasionally lose their urgency, and the later passages feel hurried after so much measured attention to the women. That unevenness matters because Irene’s doubts need time to become ours, and a rush through them makes the uncertainty harder to share. The film is right not to explain every motive, but it sometimes leaves us sorting out the storytelling when we ought to be watching the people. As a literary adaptation, this works best when it lets the actors suggest feelings that a longer explanation could make too tidy. Its limitations did not keep us at a distance from Irene and Clare, and their encounters stayed with us afterwards. We recommend it for those performances, with the caveat that its quietness occasionally becomes stiffness. Choose an evening when the conversation on the sofa can wait until afterwards. *Fi1m score 80, published 3 October 2026.* ## What the critics say Most critics respond warmly to Passing, with praise clustering around Tessa Thompson and Ruth Negga’s performances and Rebecca Hall’s restrained direction. The leads’ chemistry, charged silences and careful expressions give the film’s treatment of racial identity, desire and envy much of its force. The black-and-white cinematography also draws consistent approval, often alongside Hall’s patient visual storytelling. For many reviewers, that restraint allows complicated feelings to emerge without spelling them out. The spread is wide, however, and the chief disagreement concerns how much the film’s reserve costs it emotionally. Some otherwise favourable reviews find the later stretches rushed or unfocused, while mixed assessments describe stiffness, chilliness and repetitive conflicts. Total Film admires the central chemistry but argues that the adaptation sidesteps the novel’s complex ideas. Sight and Sound offers the sharpest dissent, praising the acting, especially Negga, but finding the film stilted and emotionally flattened. ## Straight answers **Is Passing worth watching?** *Passing* is worth watching for its unsettling intimacy and Tessa Thompson and Ruth Negga’s performances; we score it 80 out of 100. We recommend it to viewers who enjoy patient, performance-led drama, with the caveat that its restrained conversations sometimes become stiff and its later passages feel hurried. **How long is Passing, and what is it rated?** *Passing* runs 1h 38m. It is a drama film. **Where can I watch Passing in Estonia?** *Passing* is streaming on Netflix in Estonia. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Passing, and is it suitable for children?** *Passing* has a UK 12A certificate, meaning children under 12 need an accompanying adult at the cinema, and its uneasy drama is better suited to teenagers and adults. We find the tension in Irene’s intense scrutiny of Clare and the feelings their conversations leave unspoken; the certificate alone does not establish how much violence or frightening material it contains. **How does Passing compare to Imitation of Life?** *Passing* is quieter and more restrained than [*Imitation of Life*](https://film.one/film/imitation-of-life), another drama about racial passing that allows its feelings to spill over. We find *Passing*’s central pairing more consistently compelling, though its restraint can become stiffness; *Imitation of Life* offers more overt emotion, with Juanita Moore and Susan Kohner giving it a force that Lana Turner’s thinner storyline lacks. **Is Passing based on a true story or a book?** *Passing* is adapted from a novel by Nella Larsen, rather than presented as a true story. We recommend it without requiring familiarity with the book: Thompson and Negga make racial identity, desire and uncertainty compelling through their performances, and the adaptation works best when it lets them suggest feelings rather than explain them. **What should I watch after Passing?** After *Passing*, try [*Imitation of Life*](https://film.one/film/imitation-of-life) (1959, Fi1m 86): Another account of racial passing, with feelings allowed to spill over. Then [*Brief Encounter*](https://film.one/film/brief-encounter) (1945, Fi1m 90): For another drama where manners make unspoken desire harder to bear; and [*Persona*](https://film.one/film/persona) (1966, Fi1m 89): Two women, close scrutiny, and performances that make certainty increasingly difficult. ### Reviews we read (24) - **Time Out**, Dave Calhoun (5/5): Calhoun calls the film a stunning investigation of race, sexuality and identity. He praises its treatment of these themes in Jazz Age Harlem. [Read](https://www.timeout.com/movies/passing) - **IndieWire**, Kate Erbland (A-): Erbland finds Hall’s adaptation beautiful, bruising, and compelling, praising it as a formidable debut. She especially singles out Thompson and Negga’s performances, with Thompson’s restrained intensity building to a searing effect. [Read](https://www.indiewire.com/criticism/movies/passing-review-tessa-thompson-ruth-negga-rebecca-hall-nella-larsen-1234612943/) - **The New Yorker**, Richard Brody (90/100, inferred): Brody praises the film as an emotionally resonant and stylistically refined adaptation. He singles out Hall’s visual approach and Tessa Thompson’s expressive performance, especially the way the film makes Irene’s gaze central. [Read](https://www.newyorker.com/culture/the-front-row/passing-reviewed-rebecca-halls-anguished-vision-of-black-identity) - **Variety**, Jessica Kiang (Critic's Pick): Kiang praises the film as an intimate, intelligent and compassionate directorial debut, finding its subtle story of envy and longing compelling. She especially singles out the performances of Tessa Thompson and Ruth Negga, along with the luminous black-and-white cinematography. [Read](https://variety.com/2021/film/reviews/passing-review-rebecca-hall-1234896702/) - **Los Angeles Times**, Justin Chang (85/100, inferred): Chang finds the film a beautifully crafted, transfixing adaptation with subtle emotional and racial complexities. He especially praises Rebecca Hall’s visual direction and the precise performances of Tessa Thompson and Ruth Negga. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-10-26/passing-review-netflix-tessa-thompson-ruth-negga) - **The Hollywood Reporter**, David Rooney (85/100, inferred): The critic finds the film thoughtful, provocative, and emotionally resonant. He singles out Tessa Thompson and Ruth Negga’s exquisite performances as its pulsing emotional center. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/passing-film-review-sundance-2021-4125016/) - **Empire**, Nikki Baughan (80/100, inferred): Baughan finds the film profound and satisfying, praising Rebecca Hall’s restrained direction and its refusal to overstate its themes. She especially singles out Tessa Thompson and Ruth Negga’s performances and the charged silences between them. [Read](https://www.empireonline.com/movies/reviews/passing/) - **Evening Standard**, Charlotte O'Sullivan (4/5): O’Sullivan finds the film intensely beautiful and strikingly relevant, though it loses focus toward the end. She especially praises the cinematography and performances, calling Hall and cinematographer Eduard Grau poets. [Read](https://www.standard.co.uk/culture/film/passing-film-review-rebecca-hall-tessa-thompson-b962854.html) - **Little White Lies**, David Jenkins (3/4/4): Jenkins finds the adaptation involving and emotionally moving, despite some conversations lacking intensity. He praises Ruth Negga’s portrayal of Clare and the film’s devastating climax. [Read](https://lwlies.com/reviews/passing) - **The Guardian**, Peter Bradshaw (4/5): Bradshaw finds the film stylish, subtle and unsettling in its treatment of racial identity. He particularly praises the sensitive performances by Tessa Thompson and Ruth Negga, along with the ravishing cinematography and production design. [Read](https://www.theguardian.com/film/2021/oct/28/passing-review-rebecca-hall-racial-identity-tessa-thompson-ruth-negga) - **Slant Magazine**, Chris Barsanti (3/4): Barsanti finds the film somber yet compassionate, with psychological nuance and room for ambiguity. He singles out Tessa Thompson’s graceful, finely balanced performance for praise. [Read](https://www.slantmagazine.com/film/passing-review-rebecca-hall/) - **Screen Daily**, Tim Grierson (70/100, inferred): Grierson is positive about Rebecca Hall’s directorial debut. He singles out Hall’s work as director, with the film set in 1929 Harlem. [Read](https://www.screendaily.com/reviews/passing-sundance-review/5156683.article) - **The New York Times** (64/100, inferred): The review's verdict cannot be determined from the accessible page. No specific praise or complaint is visible in the supplied text. [Read](https://www.nytimes.com/2021/11/11/movies/passing-review.html) - **Radio Times**, Ann Lee (3/5): The review presents the film as an astute character study. It singles out Rebecca Hall’s handling of racial identity as thoughtful. [Read](https://www.radiotimes.com/movie-guide/b-qxxejw/passing/) - **Total Film**, Rōgan Graham (3/5): The critic calls the film a stylish but shy accomplishment, finding its restrained approach too timid to engage fully with its source material. They praise the captivating chemistry between Tessa Thompson and Ruth Negga, while faulting the film for sidestepping the novel’s complex ideas. [Read](https://www.gamesradar.com/passing-review-sundance-2021/) - **Sight and Sound**, BFI (35/100, inferred): The critic finds the adaptation elegant and faithful but ultimately stilted and emotionally flattened. They praise the performances, especially Ruth Negga’s, while faulting the film for losing the novel’s fluidity and complexity. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/passing-rebecca-hall-adaptation-nella-larsen-adaptation-tessa-thompson-ruth-negga-performing-whiteness) - **Eye for Film**, Jennie Kermode (95/100, inferred): Kermode calls the film one of the finest of the year and praises its nuanced treatment of racial and queer identity. She singles out Ruth Negga’s performance and Rebecca Hall’s subtle visual choices for particular praise. [Read](https://www.eyeforfilm.co.uk/review/passing-2021-film-review-by-jennie-kermode) - **Digital Spy**, Gabriella Geisinger (90/100, inferred): The critic calls the film harrowing, personal, and highly watchable. She especially praises Tessa Thompson and Ruth Negga’s performances and Rebecca Hall’s precise direction. [Read](https://www.digitalspy.com/movies/a38207513/passing-review-netflix-tessa-thompson-ruth-negga/) - **Collider**, Matt Goldberg (B+): Goldberg praises Hall’s confident, psychologically nuanced directorial debut. He singles out the patient visual storytelling and Tessa Thompson’s performance for drawing viewers into Irene’s insecurities and fears. [Read](https://collider.com/passing-review-rebecca-hall-tessa-thompson/) - **/Film**, Chris Evangelista (8/10): The critic finds the film a strong, simmering debut, though its ending feels rushed and diminishes its power. They praise Thompson and Negga’s performances and Hall’s subtle handling of the film’s tensions. [Read](https://www.slashfilm.com/579144/passing-review/) - **The Wrap** (80/100, inferred): The critic praises the film as a subdued, riveting tour de force, though its plot can be tantalizingly obtuse. They single out the nuanced performances of Tessa Thompson and Ruth Negga and the elegant black-and-white cinematography. [Read](https://www.thewrap.com/passing-film-review-rebecca-hall-tessa-thompson-ruth-negga/) - **Paste**, Jesse Hassenger (6.8/10): Hassenger finds the film well-acted and formally elegant but ultimately strained and chilly. He praises the performances and visual style, while faulting the adaptation for narrowing into repetitive conflicts and an unconvincing climax. [Read](https://www.pastemagazine.com/movies/rebecca-hall/passing-review) - **The Playlist** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be determined. Its praise or complaint cannot be verified from the available text. [Read](https://theplaylist.net/passing-rebecca-hall-review-sundance-20210131/) - **Deadline**, Todd McCarthy (50/100, inferred): McCarthy finds the film intriguing and unusual, but stiff, overly decorous, and sometimes inert. He praises its claustrophobic visual design and the performances of Ruth Negga and Tessa Thompson. [Read](https://deadline.com/2021/01/passing-review-tessa-thompson-ruth-negga-sundance-film-festival-1234684141/) ## Details - **Director:** Rebecca Hall - **Director:** Rebecca Hall - **Writer:** Rebecca Hall - **Novel:** Nella Larsen - **Cinematography:** Eduard Grau - **Editor:** Sabine Hoffmann - **Music:** Dev Hynes - **Production design:** Nora Mendis - **Costume design:** Marci Rodgers - **Producer:** Forest Whitaker, Margot Hand, Nina Yang Bongiovi - **Cast:** Tessa Thompson as Irene Redfield; Ruth Negga as Clare Kendry; André Holland as Brian Redfield; Alexander Skarsgård as John Bellew; Bill Camp as Hugh Wentworth; Gbenga Akinnagbe as Dave; Antoinette Crowe-Legacy as Felise; Justus Davis Graham as Ted - **Runtime:** 1h 38m - **First release (the US):** 30 January 2021 - **Genres:** Drama - **Budget:** $10 million - **Trailer:** https://www.youtube.com/watch?v=trwq3CNCMkU ## Where to watch in Estonia - Netflix: streaming *Checked 2026-10-03.* Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Imitation of Life* (1959), Fi1m 86: Another account of racial passing, with feelings allowed to spill over. — [Fi1m page](https://film.one/film/imitation-of-life.md) - *Brief Encounter* (1945), Fi1m 90: For another drama where manners make unspoken desire harder to bear. — [Fi1m page](https://film.one/film/brief-encounter.md) - *Persona* (1966), Fi1m 89: Two women, close scrutiny, and performances that make certainty increasingly difficult. — [Fi1m page](https://film.one/film/persona.md) - *Far from Heaven* (2002), Fi1m 87: For the racial tensions and forbidden desires beneath carefully maintained appearances. — [Fi1m page](https://film.one/film/far-from-heaven.md) - *The Handmaiden* (2016), Fi1m 85: A more expansive treatment of desire, class and the risks of misreading. — [Fi1m page](https://film.one/film/the-handmaiden.md) --- © 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/passing