‘Passages’ director Ira Sachs speaks to VF about his evolution as a filmmaker, and shares an exclusive clip from the movie.
), a German filmmaker living in Paris with his longtime husband, Martin in Paris. Tomas is a bit of an emotional hurricane. He wants “everything,” as Sachs puts it, and when he encounters a young woman named Agathe after wrapping his latest movie, he wants her—igniting an instant connection that propels this trio’s lives into chaos.
After the pandemic and the lockdown, I felt a certain freedom to make a movie that seemed most essentiallyin a certain way. I also felt more mature in terms of my relationship to my own craft, like I had an understanding of how I wanted to tell the story very clearly, and then I found the right partners to do that with. My relationship with the cinematographer,was really a wonderful experience for me. Somehow there didn’t feel like that much to lose;. I felt able to take risks.
That scene is a good example in which it’s totally every day and totally extraordinary. It’s both those things. I look for moments in my films in general in which the everyday somehow is taken to a place of the extraordinary. It seems like it’s all very casual, but something major has to happen in order for it to justify being a film. In that scene, the audience and Franz are the same in this moment—we are watching her and we’re given the space to enjoy her. And the camera allows that.
Well, I started going when I was 13—before Robert Redford!—because my father lived in Park City and did until his death quite recently. I’ve been going there for 44 years. And I feel people are ready. I’m encouraged when I talk to my 27-year-old niece who lives in Brooklyn and says pretty much every weekend she and her friends go to the movies; I can tell you my 57-year-old friends don’t.
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