August 14, 2023 Issue

Anthony Lane, in his review of Ira Sachs’s new movie Passages, in this week’s issue, says, “It’s the unhappiest film I’ve watched in a long while, steeped in Freudian pessimism—that is to say, you can meet the demands of the libido, in full, but don’t expect your world not to fall apart. Once satisfaction is guaranteed, so is chaos” [“Most Wanted”]. In contrast, Richard Brody finds Passages “exhilarating.” Instead of pessimism, he finds “positivity”: 

The positivity of “Passages” is inseparable from its sex positivity. There are sex scenes of a rare dramatic power, whether in the animal athleticism that marks the erotic bond of Martin and Tomas (Sachs films their scenes in long, tense, extended takes), in the howling delight that Tomas finds in his relationship with Agathe, or in his tender and wonderstruck gaze at her face as he caresses her to orgasm. [“ ‘Passages’ and an Art Monster’s Fierce Purity,” newyorker.com, August 8, 2023]

Lane disagrees. He says of the movie’s sex scenes, 

Here and there, “Passages” has been described as “sexy,” but that’s the last thing it is. To be sure, there are writhings on view, gay and straight, but the sex has the animus of violence: a desperate grapple, with one person’s legs wrapped around another’s back. Agathe keeps her heavy boots on, and almost bangs her head on the edge of a desk. Nothing here is solved or softened by the making of love. Rather, the effect of all the lusting is to hammer people further into unwisdom and despair. 

So which is it – positive (Brody) or negative (Lane)? Sexy (Brody) or unsexy (Lane)? Exhilarating (Brody) or despairing (Lane)?  My interest is piqued. I guess I’ll have to watch the film and make up my own mind.