The Irish Times by Donald Clarke

What emerges is a torrid, gripping drama that acknowledges not just what damage the careless can wreak but also to what extent the responsible often conspire in their own annihilation.

Observer by Rex Reed

Sachs gives his actors the space to develop complex characters that make us feel their unhappiness and disillusion. The film captures the moods of relationships in transition without ever being condescending or judgmental. The sex scenes and nudity are so graphic that it’s safe to say this is not a film for everyone, but is as relentlessly moving as it is fascinating.

Rolling Stone by David Fear

You can find hundreds of egotistical monsters who’ve graced movie screens (don’t get us started on the ones working behind the scenes; that’s a whole other piece), but few of them can compare to Tomas Freiburg.

Film Threat by Sumner Forbes

Filled with affecting intimacy and some of the best (and essential) sex scenes in recent memory, Passages is one of Sachs’ absolute best films and further solidifies the exemplary status of the three lead performers—an essential 2023 film.

Original-Cin by Chris Knight

Sometimes, in equations of the heart, you can solve for X. And sometimes it remains stubbornly, soul-stabbingly unknown.

The Playlist by Charles Bramesco

Adroit casting, writing, editing, performing and costuming shade the outline of an affair to a finely sharpened emotional realism, the cycles of fighting and reconciling we’ve all seen before regaining in rawness as if we’re now the ones living through it.

Vanity Fair by Richard Lawson

It’s a piercing and often very funny character piece, a study of narcissism masked, at least in part, by bourgeois, Millennial understandings of progressive coupling. But Sachs, who is in his 50s, has not made some condemnatory thinkpiece about what’s wrong with a generation. The people of Passages could, in some senses, be from any time; mercurial partners have existed forever.

Time by Stephanie Zacharek

This is a smart, lustrous film, and a bracingly honest one, the kind of movie that leaves you feeling both invigorated and a little blue.

The Hollywood Reporter by Jon Frosch

With the steadfast lack of melodrama we’ve come to expect from him, the writer-director packs more incident, life and unassuming complexity into 90 minutes than most filmmakers muster in twice that run time.

Slant Magazine by Pat Brown

While there’s much acute pain in this compact but resonant drama, it can also be funny in a way that smacks of self-deprecation.