Passing (2021)

Calhoun calls the film a stunning investigation of race, sexuality and identity. He praises its treatment of these themes in Jazz Age Harlem.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Grierson is positive about Rebecca Hall’s directorial debut. He singles out Hall’s work as director, with the film set in 1929 Harlem.

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The review presents the film as an astute character study. It singles out Rebecca Hall’s handling of racial identity as thoughtful.

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.

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.

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.

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.

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.

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.

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.

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.

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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.