Passing

Despite being set nearly 100 years ago, the themes in Passing remain as relevant as ever. The effects of Jim Crow laws linger to this day, just a part of what makes Passing so powerful.

You also have to factor in director Rebecca Hall’s beautiful work behind the camera. Modern black and white films can sometimes come across as gimmicky, but that’s not the case with Passing. Every shot is carefully constructed to transport you back to the 1920s. The sepia colored tones feel as though you are looking at a faded postcard.

The lead actresses both deliver impressive performances. Thompson’s role is a bit trickier, as Irene must restrain herself around Clare. She’s never able to say what she really thinks, so Irene’s emotions are conveyed through small facial expressions—the lift of an eyebrow, the tightening of her lips. Thompson masters these gestures perfectly. Meanwhile, Negga captures Clare’s vivacious personality while also balancing her deep-seeded misery and longing for the life she once had.

Passing is a quiet film. There is very little violence, a deliberate choice and a departure from other films focused on race. The characters do mention lynchings and the threat of violence lurks over them, creating a rich tension, but we never actually see any. This only makes the film more powerful. It reminds us that the threat of racism is always there, invading the safety of one’s family and one’s well being. The film poses questions about race that we as a society are still trying to answer: Who decides who belongs in what space? What happens when someone tries to enter into a space that is not considered theirs? They are questions you’ll still be pondering long after the movie ends.