Black Bag

 

Director Steven Soderbergh

Soderbergh behind the camera

Soderbergh on the set with Michael Fassbender

Soderbergh with screenwriter David Koepp

screenwriter David Koepp

musical composer David Holmes

BLACK BAG             B+                                                                                                             USA  (93 mi)  2025  d: Steven Soderbergh

Whatever you may say about the films of Steven Soderbergh, one thing you can count on is that they will be stylishly entertaining, in this case like being immersed in the middle of a John Le Carré spy novel.  The maker of SEX, LIES, AND VIDEOTAPE (1989), one of the most influential catalysts of the 1990’s independent film movement, leading to Out of Sight (1998), The Limey (1999), and Traffic (2000), which remain among Soderbergh’s best films, all made at the height of his creative peak, yet this feels more along the lines of Haywire (2011), moving invisibly through a world of espionage, double agents, government cover ups, and secret identities, where the one certainty is never trusting anyone.  Soderbergh indicated he wanted this film to feel like the espionage version of Mike Nichols’ Who's Afraid of Virginia Woolf? (1966), but it doesn’t have that kind of verbal pyrotechnics, as it’s much too sublimated for that, avoiding the high-octane action sequences typical of spy thrillers, instead there’s a unique focus on the interior psychology of the characters, where it actually feels more like an Agatha Christie novel, a spy thriller that’s also an interpersonal relationship movie, with a terrific ensemble cast that continuously plays mind games with each other, where Soderbergh’s bag of tricks is in stark contrast to Tomas Alfredson’s much more somber and subdued Tinker Tailor Soldier Spy (2011).  Given the state of the world at the moment, where lying and disinformation have become the new normal, with nations sabotaging and undermining their own people to prevent the truth from ever coming out, we are living by new rules of engagement, where we suddenly find ourselves mired in a labyrinthian sci-fi dystopia, where we may never see the light of day, as the odds are continually stacked against us, with Soderbergh having a little fun at our expense, poking holes in our perceived covers, twisting the knife in what was once conceived as an open democracy.  Nowadays all bets are off, with this film demonstrating just how convoluted and confusing it has become, with the power brokers dangling the strings, making us believe whatever the hell they want us to believe, closing off all avenues of the real truth, while wrapping it all up in a mirage of freedom and democracy.  Having written three of the director’s last four movies, including his minimalist ghost story PRESENCE (2024), released just two months ago, the ridiculously talented and successful screenwriter David Koepp has written more than thirty feature films, including a wide variety of genres, with U.S. box office receipts grossing over $2.6 billion, making him the fourth most successful American screenwriter of all time (Top Grossing Screenwriter at the Domestic Box Office), though evaluating who is “best” is another story (The 100 Best Screenwriters of All Time), consulting with actual spies to write this movie, which is simply immersed in the culture of keeping secrets, which extends into personal relationships, including marriage, where confidential things that are off-limits for discussion are kept in a “black bag.”  That’s the amusing premise for the film, with Soderbergh having fun subverting genre expectations, becoming a puzzle piece that turns into fun and games, where if you can lie about everything, then how do you tell the truth about anything?  Perhaps unintentionally, that’s the real dilemma of living in America at the moment, where it’s like living under the Russian KGB, as everything is filtered through a wall of authoritative threats and manipulated disinformation.  Lies and cover-ups, along with a blatantly racist disregard for even the barest trace of historical diversity, are the cultural cornerstones that have literally replaced truth and honesty in American politics, the exact opposite of the Watergate era of the 1970’s, which opened a new door of ethics reform along with journalistic integrity and transparency.          

Using chapter headings counting down the days, one by one, this moody, atmospheric film is driven by a remarkable soundtrack written by Irish musician David Holmes, who has written the music for dozens of films going back to Soderbergh’s Out of Sight working with the director on and off for decades, Black Bag 2025 Soundtrack | Black Bag - David Holmes ... YouTube (1:09).  The super-modern, stylish look of the film is captured by none other than the director as cinematographer, working under a lifelong pseudonym Peter Andrews, while also editing the film under the pseudonym Mary Ann Bernard, where the sterile rooms and office spaces of Britain’s National Cyber Security Centre (NCSC) are void of color or personality, much of it mimicking the sepia tones of David Fincher’s Se7en (1995), swamped by an uneasiness that persists throughout, like an underlying gloom that permeates through every character.  In a superbly constructed opening sequence filled with suspense, the camera follows British intelligence office George Woodhouse (Michael Fassbender) in a Scorsese-like, single-take opening shot through the underground walkways of an upscale, carefully guarded London nightclub, leading to a private VIP vaping room, with darkness saturating every frame, as his superior, Mr. Meacham (Gustaf Skarsgård), contends “There’s a stranger in our house,” ordering him to investigate a leak in the intelligence service, specifically the theft of a top secret cyberweapon code-named Severus, a biological weapon capable of killing thousands, where one of the five suspects who have access to it is his wife, Kathryn (Cate Blanchett), given one week to find the culprit before it activates.  Adding to the intrigue, Meacham is poisoned and killed by morning, made to look like a heart attack, with a covert murder operation suddenly infiltrating the picture, where clearly there is trouble in the ranks.  Something of a twisty cat and mouse tale, perhaps the oddest juxtaposition is an early scene of the Woodhouse’s hosting a dinner party inviting all the suspects to their swanky townhouse, including a smug intelligence analyst Freddie Smalls (Tom Burke) and his sharp and savvy girlfriend Clarrisa Dubose (Marisa Abela), a junior agent and cyber technology expert, also the ever-observant, in-house psychiatrist Dr. Zoe Vaughn (Naomie Harris) and her dapperly dressed, recently promoted, second-in-command boyfriend Col. James Stokes (Regé-Jean Page).  This social gathering with fellow spies allows George to secretly place a psychotropic drug in the curry, lowering their inhibitions, creating an opportunity to observe their reactions, as interactions among the group frequently spark subtle shifts in the mood, where a brief glance, a subtle change in tone, or a hesitant remark speaks volumes, enriching the overall fabric of the narrative.  This opportunity allows secrets to be revealed, most of a private nature, exposing cracks and infidelities in each relationship, where a culture trained to deceive simply makes cheating too easy, growing very testy with one another, often driven by their own personal ambitions, featuring stellar dialogue that is delivered at a crisp pace, almost like a screwball comedy, Black Bag Movie Clip - Nothing I Couldn't Handle (2025) YouTube (1:04), recalling the infamous dinner parties hosted by married couple Nick and Nora Charles, a romantically involved detective duo known for their witty banter in W.S. Van Dyke’s THE THIN MAN (1934), where the dinner invite was a glamorous way to flush out the decisive clues to solve a case.  Outing Freddie as a serial cheater, George meticulously details his predictable sexual promiscuity, a provocation that prompts Clarissa to furiously retaliate by stabbing him on his hand with a steak knife.  Hell hath no fury like a woman scorned.  While it’s a brilliantly conceived scene, allowing deeply repressed emotions to suddenly erupt to the surface, it also sets the stage for what follows, exposing what has to be the ultimate in workplace romances with the potential for dire consequences, as we’re dealing with clandestine operations that rarely see the light of day, so the film literally toys with the possibilities, poking fun of the somber nature of the business, but also cleverly finding humor at every turn with witty insinuations and quick retorts.       

The sanctity of marriage is broken when George finds a theater ticket stub in his wife’s trash, contradicting her version of events, so he breaks into her office and learns she’s secretly traveling to Zurich without telling him, testing the loyalty to his wife or his country.  His response, completely reflective of their power dynamic, is one of the more ingeniously conceived, diabolically clever scenes of the film, requiring the expertise of Clarissa to redirect a spy satellite while deceiving the agency’s satellite video screens, watched like a hawk by the man in charge, a silver-haired Pierce Brosnan (a playful take on his late 90’s version of 007 himself!) as Arthur Steiglitz, going offscreen for a mere minute or so to allow George to spy on his wife in Zurich meeting someone of interest, a hilarious example of the extent marital partners are willing to go to find out what they want about the other, Black Bag Movie Clip - It's the Only Way - video Dailymotion YouTube (45 seconds), where the wrinkle is a split-second glitch exposing their shenanigans, a subliminal moment and potentially disastrous occurrence that could expose his dirty tricks.  This marital relationship is at the heart of the picture, as it thrives on secrets and lies, yet relies upon trust, a kind of marriage that is unique to cinema, held together by a mutual understanding of the lies they live in, where the wheels of power are forever changing, as both are deliberate, smooth, rarely cracking a smile, where a certain frostiness and cold precision is required in their profession.  George is a cold and clinical character, robotic, seemingly inhuman, like an A.I. invention, never revealing an inner life, yet super intelligent, as his views are rarely challenged, while Kathryn is more socially amenable, a master of disguise moving about with an icy calmness, with a wardrobe right out of Todd Haynes’ 2015 Top Ten List #6 Carol, where her natural disposition tends to put people at ease, allowing her to more easily gain people’s trust, including her husband, but the open question is whether there’s been a breach in their marriage, and whether she’s undermined official state secrets, becoming that mole in their midst.  This see-saw affair of shifting perspectives is the engine that generates the understated power of the picture, where everyone’s a suspect, yet the more George investigates, the more all the clues lead to his wife, delving into moral complications, yet what’s a spy thriller without the spies spying on each other?  When George and Kathryn compare notes and suspect they’re being set up, using each against the other, George shrewdly conducts polygraphs tests that mix the personal with the professional, anything to make each suspect feel precariously offguard, yet his interview with Clarissa, with Abela stealing every scene she’s in, is drop dead hilarious, as she’s devised bizarre methods to beat the test, which truly impresses the usually unflappable George, who is supposedly unparalleled in the art of psychological manipulation, taking this into unfamiliar territory while adding a bit of spice to the mix, Black Bag Exclusive Movie Clip - Polygraph Tests (2025) YouTube (59 seconds).  This sequence is cleverly edited, moving rapidly between agents, merging the personalities of everyone involved, like a musical crescendo, leading to yet another classic dinner sequence designed to catch the culprit, with Kathryn remarking, “It’s been a while since we’ve had a traitor to dinner, at least knowingly,” Black Bag | Official Clip | Cate Blanchett, Michael Fassbender YouTube (1:06), a wonderful return to form for Soderbergh, whose cinematic sophistication really shines.  Something of a throwback to those paranoid conspiracy flicks of the 1970’s, deliciously entertaining at every turn, this is masterful filmmaking, immersing viewers in a sordid universe that we are typically excluded from, yet here we’re given a front row seat in what is easily one of Soderbergh’s best films in years.

2024 Top Ten List #2 All of Us Strangers

Writer/director Andrew Haigh

Paul Mescal and Andrew Scott

Haigh on the set with Paul Mescal

Haigh with cinematographer Jamie D. Ramsay

ALL OF US STRANGERS                  A                                                                                 Great Britain  USA  (105 mi)  2023  ‘Scope  d: Andrew Haigh

Little things I should have said and done, I never took the time.                                                  —Always On My Mind, The Pet Shop Boys, 1987

British-born writer/director Andrew Haigh, creator of Weekend (2011), 45 Years (2016), and Lean On Pete (2017), has crafted his most mature and compelling work, a haunting meditation on loneliness that offers more than a few surprises, emotionally raw and deeply connecting, expressing a unique vulnerability that is brilliantly told, feeling very grown up, where nothing else like it comes to mind, as it really establishes its own unorthodox path, where the reflective originality is literally off the charts without using any cinematic trickery.  What truly stands out is just how achingly personal it is, where every single moment feels heartfelt, and the title tells all, poetically revealing how we all revolve around each other’s lives, like planets in alignment, reminiscent of that spectacular opening sequence in Béla Tarr’s WERCKMEISTER HARMONIES (2000), Werckmeister Harmonies (Opening Scene - GR-EN sub) YouTube (10:12).  The degree of complexity in this film is surprising, as it starts out simple enough, with nothing out of the ordinary, where the realist aesthetic becomes ingrained with viewers, setting the tone for what follows, providing the building blocks of an intense theatrical exploration of memory and identity, loosely adapting Taichi Yamada’s 1987 Tokyo-based novel Strangers, the first recipient of the Yamamoto Shūgorō Prize, changing the central character to a gay man with the blessing of Yamada (who died recently at the age of 89) and his family, who were incredibly respectful of Haigh’s vision of finding hope in dark places.  At the center of the story is Irish actor Andrew Scott as Adam, a reclusive writer working on a story that has to do with his past and his deceased parents, currently living alone on the 27th floor of a block high-rise building with a panoramic view of the London landscape below, where the clouds on the horizon offer a contemplative vantage point, recalling Sofia Coppola’s far-reaching hotel room vista in Lost in Translation (2002), or the quiet perch in Spike Jonze’s futuristic Her (2013), where the window in each case is a barrier to the world outside.  Despite the massive size of what appears to be a new building, it is strangely deserted, where it comes as a surprise that he is the only one exiting during a fire drill, an incident that allows Adam to spot his only neighbor in a window, Harry (Paul Mescal from 2023 Top Ten List #7 Aftersun), who pays him a visit afterwards in an excessively awkward flirtatious gesture that reveals his off-putting drunken state, with a half-empty bottle of Japanese whisky in his hands, ALL OF US STRANGERS | “Do I Scare You” Clip | Searchlight Pictures YouTube (54 seconds).  He’s younger and more gregarious, but Adam declines the invitation, as he’s largely a solitary figure, but has second thoughts afterwards, believing there’s something there, and a short time later the two reconnect as gay lovers, where the awkwardness of an initial sexual encounter is everpresent, yet there’s also a heartfelt connection that bonds them together, some of which comes from sharing the difficulties they each encountered from the realization they were gay.  Both are estranged from their families and share the same feeling of alienation and not belonging, with Adam confessing he lost his parents in a car crash thirty years earlier just before he turned twelve years old, with Harry sensing that kind of pain never goes away, leaving Adam suddenly flooded by memories of his past, while Harry is himself trapped by his own struggles with drugs and alcohol.  Rising to the surface are grief and loss, with elements of warmth, melancholy, loneliness, and sorrow, opening a dialogue between the past and the present, something that was previously explored in Céline Sciamma’s Petite Maman (2021), or more recently Miyazaki’s The Boy and the Heron (Kimitachi wa dô ikiru ka) (2023).  But this is something different altogether, a profoundly moving experience that may leave some emotionally shattered, becoming a deeply philosophical Proustian essay on the power of love and the power of remembrance.   

Andrew Haigh films are known for being quiet, intimate, well-acted, and intensely real, where the root of them all is an emotional honesty expressed with extraordinary tenderness, where his eloquent use of music and camera movement feels effortlessly fluid and graceful, a bit like Xavier Dolan, luring us into an emotionally devastating fictional world that viewers are suddenly thrust into, as if we’re living it ourselves.  Premiering at the Telluride Film Festival, this is another LGBTQ story with a surreal aspect to it, bearing some resemblance to Enys Men (2022), as each is a brilliantly original exposé on loneliness, but things are expressed quite differently, conveyed largely through conversations, with regular bursts of humor in highlighting the absurdities of the situation, where it’s such a deeply personal and imaginative vision that it takes us places where we’ve never been, much of it stemming from the unique architectural blueprint from the Yamada novel.  While stuck on a page that simply reads “External, suburban house, 1987,” this film leaves audiences continually off-balance, as we question what we’re seeing, wondering just what to make of it all, taking place in a netherworld of memory and the imagination, where there’s a textured, indelible sense of pathos running through the entire film, which feels more like a metaphysical experience.  The overall weirdness may not work for everyone, but this is a director at the height of his powers pressing the artistic boundaries in pursuit of something completely different, where it’s a bit of a challenge to keep up with the dizzying turns in the road, but the place he takes us is something to be cherished.  Some twenty or thirty minutes into the film, Haigh pulls the rug out from underneath us, leaving us floating on air in a state of suspended incomprehension and disbelief, where it doesn’t matter if it defies all rational logic, as he instead creates an immensely satisfying alternative universe, with no explanation, and simply leaves us there to fend for ourselves.  While off on a long walk, Adam encounters a strange man (Jamie Bell) and follows him into the suburban neighborhood of Croydon, where we thoroughly expect an anonymous sexual encounter, but once they get to the door, the man happily introduces Adam to his wife (Claire Foy from 2023 Top Ten List #1 Women Talking), only to discover they affectionately call him their son, someone they haven’t seen in a long while, which is an alarming development, ALL OF US STRANGERS | “Hi” Clip | Searchlight Pictures YouTube (30 seconds).  Viewers are quick to think they may be stepparents, or foster parents, yet the strange thing is there appears to be little difference in their age as they immediately rehash childhood memories, which are in no way idealized or romanticized, but presented matter-of-factly, exposing the obvious discomfort that generation either failed to recognize or ignored.  As mind-blowing as this seems, blurring the boundaries of reality, they’re actually picking up their relationship where it left off decades earlier (“Is this real?” he asks), having conversations with his parents that he never got to have, where they all seem perfectly comfortable with the visit afterwards, as if it was a cathartic experience, which only elevates the emotional authenticity of the reconnection, a very unusual way to tackle the haunting memories of grief and death, like traveling through an invisible portal.  In this ghost story, however, Haigh leaves out any horror or supernatural elements, and rather than being about the dead, it’s about the living communing with the dead, tapping into feelings people didn’t know they had.  In a subsequent visit with just his mother at home, ALL OF US STRANGERS | “You Were Just A Boy” Clip | Searchlight Pictures YouTube (2:00), Adam confesses he is openly gay, which hits her like a ton of bricks, not really bringing herself to believe what she hears, as it’s not what she ever envisioned, yet this is the moment every gay kid has with their parents, and it’s completely relatable.    

One of the unlocking keys to the film is viewing the album cover of Welcome to the Pleasuredome by Frankie Goes to Hollywood, a pivotal 1980’s album that exploded onto the music scene in a wave of controversy, where the blatant sexuality was groundbreaking, dangerous, and exciting, along with its immersion into gay culture during the AIDS epidemic of the 80’s which took so many innocent young lives.  This film is caught in a time warp, carrying the distinct experience of a specific generation of gay people growing up in the 80’s, battered by the relentless homophobia of the Reagan and Thatcher era where they were meant to feel ashamed and abandoned, as no one cared, where it’s not nostalgia, which can often hide the truth, but the burden of alienation and self-loathing still carried around by generations of grown-up gay children who have been traumatized from the harm done by an unsympathetic mainstream that was not inclined to question or reshape the world around them but simply accept the status quo.  Moving away from the traditional ghost story of the novel, Haigh creates something more psychological and distinctly metaphysical that is intentionally abstract in its revelations.  While the film takes place in a contemporary setting, the sequences when Adam returns to his childhood home to see his parents returns us to a 1980’s version of their world, where time has literally stopped, which has the effect of stepping into a dream, or a hazy, nostalgia-induced memory, where one of the more haunting sequences is a Christmas they spend together, with his mom humming along to an old Elvis tune as they decorate the tree, yet the cover version heard on TV with a gay lead singer has a completely different, more heartbreaking connotation for Adam, Pet Shop Boys - Always on my mind (Official Video) [4k Upgrade] YouTube (5:12).  In order to accentuate the realism and deep personal connection, these scenes were actually shot in Haigh’s childhood home, beautifully expressed on 35mm by cinematographer Jamie D. Ramsay, with rich colors and evocative lighting, exacerbating a feeling of being out of time, or in spaces inhabited only by the mind, while the eerie, mind-altering electronic musical score was conceived by Emilie Levienaise-Farrouch.  Haigh explores the complexities of both familial and romantic love, with Harry and Adam, in a moment of joyous abandon, heading out into the world together as a couple, where one of the film’s memorable sequences takes place in a nightclub, shot on location at the Royal Vauxhall Tavern, an iconic queer London institution which is entrenched with local history and culture, where the neon-lit color scheme immerses viewers in the richness of a drug-induced experience, ALL OF US STRANGERS | “Will You Look After Me?” Clip | Searchlight Pictures YouTube (55 seconds), which is a dizzying and terrifying turn, set to the music of Blur’s Death of a Party (2012 Remaster) - YouTube (4:33), where their loneliness mirrors one other, two men adrift, lost souls brought into each other’s lives, trapped by invisible scars that continue to inhibit their ability to connect with others.  Easily one of the more original and important films seen in a while, as it speaks to something that simply isn’t being told elsewhere.  There are wow moments in this film, achieved through exquisite writing and tender emotional restraint, where some of the most stunning moments come from quietly intimate deliveries, where the vast majority of the film’s complexities rest firmly on the shoulders of Adam, where much of the emotional punch comes from the tender, heart-wrenching, and healing bond between Adam and his parents, leading to one of the more powerful finales in recent memory, exemplified by a moment of infinite beauty and the majestic quality of Frankie Goes to Hollywood, Frankie Goes To Hollywood - The Power Of Love - Remastered - 4K - 5.1 Surround YouTube (5:05), suggesting that more than anything our lives revolve around the transcendent importance of relationships and the power of love.       

Andrew Haigh Answers All of My Burning Questions About ' ...  engaging Evan Ross Katz interview from Shut Up Evan, November 7, 2023