'Shame does not fuel this movie.' Director irasachs talks about his new film 'Passages' and the scourge of censorship 📽
In 2017, when I was a college student at Bard, I had a chance to invite the filmmaker. It chronicled the on-again-off-again relationship of Erik, a filmmaker, and Paul, a closeted lawyer, and Paul’s tumultuous addiction to crystal meth. I picked Ira up from the train station in Rhinecliff, which is where the final scene of the film takes place. It felt surreal, as if I was sitting inside of his movie.
WILLIAMS: The marketing for the film makes it seem like it’s gonna be about this kind of sexy threesome. And the filmvery sexy, but it’s not really about that. It hints at this sort of alternate kind of romantic relationship, something outside the norms of monogamy. SACHS: You know, what I took from Fassbinder for this film was beauty. Meaning, I wasn’t making realistic cinema, I was making iconic cinema. So I thought of the woman’s face, the man’s body, the costumes, the spaces as opportunities for visual impact. So we were looking atSACHS: And also theof the sweaters is incredible. And I think that in certain kinds of cinema, and Fassbinder more than almost anyone else, what lingers with you is the impact of color and bodies.SACHS: Yes.
, which is when two lovers play music for each other. And to me, making a film in Paris, I didn’t resist the memories that French cinema has given me. So it’s not necessary to know French cinema, but I think the film exists in a realm in which the pleasures of those movies is part of the film’s imagination.SACHS: I shot it in Paris because I know the city very well. I’ve had relationships there and I’ve had breakups there and I’ve had sex there and I’ve cried there.
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