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Passages Poster

Passages

2023 | 92m | French

(14197 votes)

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Popularity: 2 (history)

Details

Tomas and Martin are a gay couple living in Paris whose marriage is thrown into crisis when Tomas impulsively begins a passionate affair with young schoolteacher Agathe. But when Martin begins an affair of his own, Tomas must confront life decisions he may be unprepared—or unwilling—to deal with.
Release Date: Jun 28, 2023
Director: Ira Sachs
Writer: Ira Sachs, Mauricio Zacharias
Genres: Drama, Romance
Keywords paris, france, love triangle, infidelity, eroticism, bisexuality, pregnancy, bicycle, narcissism, teacher, lgbt, bisexual man, biking, compulsion, abortion, graphic design, film director, bilingual, same sex marriage, gay theme, self destructiveness, independent film, affair, wrap party, unlikeable protagonist
Production Companies SBS Productions, KNM
Box Office Revenue: $1,103,374
Budget: $0
Updates Updated: Jun 27, 2025
Entered: Jun 27, 2025
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Full Credits

Name Character
Franz Rogowski Tomas
Ben Whishaw Martin
Adèle Exarchopoulos Agathe
Erwan Kepoa Falé Amad
Théo Cholbi Jérémie
Arcadi Radeff Dimo
Léa Boublil Erica
Thibault Carterot Thibault
Tony Daoud Tony
Theo Gabilloux Young Actor
Anton Salachas Elias
Sarah Lisbonis Sarah
William Nadylam Clément
Caroline Chaniolleau Agathe's Mother Edith
Olivier Rabourdin Agathe's Father
Jérôme Dauchez Wine Executive
François Boisrond Artist #1
Kylian Moison Artist #2
Chloé Granier Martin's Assistant #1
Juliette Mourlon Martin's Assistant #2
Malika Bejaoui School Concierge
Name Job
Olivier Assayas Thanks
Oren Moverman Thanks
Kelly Reichardt Thanks
Laurent Bozzi Hair Designer
Thomas Gastinel Sound Mixer
Arlette Langmann Additional Dialogue
My Lan Nguyen Quang Visual Effects
Nathalie Tabareau Key Makeup Artist, Makeup Artist
Judith Chalier Casting
Grégoire Jeudy Second Assistant Director
Romain Anklewicz Foley Artist
Marianne Lamour Gaffer
Yov Moor Colorist
Céline Ruffié-Camus Assistant Location Manager
Ira Sachs Director, Writer
Pascale Consigny Production Design
Cyril Holtz Sound Re-Recording Mixer
Hervé Ingrand Set Designer
Andrew Haigh Thanks
François Ozon Thanks
Sophie Reine Editor
Marianne Germain Production Manager
Nina Maini Boom Operator
Christophe Arnoud Location Manager
Andrew Ahn Thanks
Sophie Roudaut Producer's Assistant
Logan Lelièvre Unit Manager
Julie-Anne Simon First Assistant Director
Guy Ferrandis Still Photographer
Audrey Kleinclaus Digital Intermediate Producer
Romain Planque Assistant Location Manager
Josée Deshaies Director of Photography
Mauricio Zacharias Writer
Anne Gibourg Sound Editor
Khadija Zeggaï Costume Design
Name Title
Saïd Ben Saïd Producer
Kevin Chneiweiss Executive Producer
Michel Merkt Producer
Ali Betil Executive Producer
Hannah Janal Executive Producer
Organization Category Person
Popularity Metrics

Popularity History


Year Month Avg Max Min
2024 4 27 41 19
2024 5 28 54 20
2024 6 23 43 15
2024 7 26 44 15
2024 8 25 50 16
2024 9 14 21 10
2024 10 19 42 10
2024 11 18 31 9
2024 12 16 29 12
2025 1 18 29 11
2025 2 11 20 3
2025 3 5 15 1
2025 4 2 4 1
2025 5 2 5 1
2025 6 2 4 1
2025 7 1 2 0
2025 8 1 2 0
2025 9 4 7 2
2025 10 1 2 0

Trending Position


Year Month High Avg
2025 7 666 797
Year Month High Avg
2025 6 124 550

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Reviews

Brent_Marchant
7.0

Intimacy can be a beautiful thing. However, it can also become something messy, hurtful and emotionally devastating when tainted by self-serving agendas, irresponsible intentions, or reckless, short-sighted experimentation, influences that can purposely or unwittingly end up wreaking widespread havo ... c. Such is the case in writer-director Ira Sachs’s new domestic drama about a flamboyant, free-spirited gay male filmmaker, Tomas (Franz Rogowski), who impulsively jumps into an impromptu fling with a woman, Agathe (Adèle Exarchopoulos), a relationship that leaves his longtime husband, Martin (Ben Whishaw), unsure of what the couple’s future might hold. As time passes, circumstances grow increasingly complicated as each member of this unlikely trio tries to sort out what lies ahead, particularly with the emergence of Tomas’s ever-growing thoughtless capriciousness. Some viewers may look upon the story’s shockingly reprehensible developments as improbable and appalling, but, sadly, as anyone who has ever watched tabloid TV can probably attest, the events depicted here might not appear as far-fetched as one might think. In that respect, this offering presents a bold, courageous, honest look at what can go awry in situations like this, an account loaded with incensed outrage, unbridled ire, biting humor and more than a little cynicism. It’s a narrative that some audience members may find offensive, even deplorable, but, like a horrific car accident, it’s also something that many viewers might find difficult to look away from, thanks in large part to the wholly convincing performances of the three protagonists. Sensitive viewers should be aware that the film includes a fair amount of explicit and provocative sexual content, so those easily offended by such material may not want to put this one on their watch lists. However, for those who appreciate domestic dramas that hold nothing back and that aren’t afraid to get down and dirty in their portrayals of what can happen, this release is about as good as any out there. Just be prepared to be left with your jaw agape – and your head spinning.

Aug 17, 2023
Geronimo1967
6.0

"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 rather lacklustre enterprise. 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.

Nov 14, 2023