Ira Sachs, recognized for crafting meticulously human-centric cinematic dramas, brings forth a deliberately unsettling and sensually charged film, “Passages”. Encompassing a dynamically perplexing love triangle, it unfolds amid self-generated chaos, set against the backdrop of contemporary Paris, absent of notable external world interference.

The narrative of "Passages" springs to life on a movie set, directed by Tomas (Franz Rogowski), who is deeply involved in crafting a period film of the same name. Despite the slightly eye-rolling self-referential title, the film avoids falling into a meta-conceptual trap. Tomas presents himself as an overbearing auteur, meticulously managing his extras without an assistant director, suggesting a particularly controlling demeanor, which subsequent events confirm.

The story weaves into a wrap party where Tomas is accompanied by his husband, Martin (Ben Whishaw). After a light debate about dancing, Tomas spontaneously joins Agathe (Adèle Exarchopoulos) on the floor, following her recent break-up and apparent availability. Although Tomas is married, he reveals himself to be extraordinarily receptive to new experiences.

Martin and Tomas' relationship boundaries are ambiguous. After Tomas’s intimate night with Agathe, he candidly and rather eagerly shares his escapade with Martin, uttering “I had sex with a woman. Can I tell you about it?” Martin’s less than enthused response does little to dampen Tomas's spirit as he enthusiastically continues to share his encounter. A revealing retort from Martin indicates this pattern is not new: “This always happens when you finish a film.” While Tomas’s post-film dalliances align with the editing period, “Passages” does not overly dissect this, nor does it rationalize his actions through work-related stress.

Rogowski’s portrayal of Tomas is enthralling in its complexity. His ability to manipulate others, combined with Rogowski's masterful employment of a speech impediment and evasive postures, instills Tomas with an almost vermin-like persona. Nevertheless, the physical allure he holds for both Agathe and Martin remains apparent.

“Passages” captivates primarily because neither Agathe nor Martin emerges as overtly susceptible. Despite succumbing to Tomas’s petulant charms at various junctures, they retain their agency. Whishaw’s Martin, a printer with a discerning eye and innate self-assurance, and Exarchopoulos’s Agathe, who although intrigued by Tomas's sporadic fervor, adheres to a pragmatic approach to life, illustrate their strength through pivotal moments in the story.

After Tomas initiates his affair with Agathe, which includes a unique interlude with her parents—perhaps the only moment viewers might empathize with him—Martin embarks on a brief liaison with a gifted writer/editor, Amad (Erwan Kepoa Falé), which he ends abruptly. Amad, perceptively identifying the situation, warns Martin, “You’re weak, and you’re sick. You can’t see it yet, but you won’t survive this. Either of you.” The film’s conclusion is not overtly dramatic, yet the portrayal of a frenzied but dwindling Tomas illustrates his failure to learn from the chaos he’s created, suggesting an inevitable burnout on his continuous cycle of destruction.

In summary, "Passages" entwines viewers in a torrid and intricate love triangle, navigating through emotional and moral complexity without offering clear resolutions or moral judgments. It explores entangled human interactions and self-induced chaos, providing a tantalizing yet frustrating glimpse into the lives of its deftly crafted characters, steering through turbulent times shaped by their own making.