Continuing to prove that retirement is not only exaggerated, but a real obstacle to the best work of the artist, in a “black bag”, Stephen Soderberg raises an exercise of the elegant small type – he is really scribbling, at a stage in his career when he was clearly enjoying – proves that he is one of his most sexy films. The flawless team of actors, Michael Fassbandar and Kate Blanchett, who play the role of George Woodhaus and Catherine Saint Jean, are heading a couple of nick -like spies and Nora in deep, foolishly in love to the point that they find that it is unreasonable that the male in the British Intelligence Agency that their wife works.
The most successful marriages are based on confidence. Once you create this, there is space – if there is no psychological need – for both sides to maintain a kind of secret garden where they can maintain some special things. The brilliance of “Black Bag”, which represents the project of the third director with David Koepp (after “KIMI” and “existence”), is not only the way he puts the risks between this particular husband at a greater level, where tens of thousands of lives can depend on what they choose to hide from each other, but how can the effective Spy movie say a lot about human relationships.
From the opening snapshot-one of those numbers three minutes, uninterrupted that George, “Goodfellas”, across the streets, to a nightclub and copy to the surface on the back of his hero-like champion-we know that Soderbergh can make this film in his sleep. This is the way the director enjoys moving in physical and psychological spaces where the “black bag” is revealed. As he was presented in this scene, George reads that it is ruthless and not emotional, although we will learn soon (again at home, I did not sing with his wife Catherine) so that he actually appreciates his wedding over any right -wing of his country.
Looking at George, it is difficult not to think of the Vasnender character played by Fassbandar slightly more than a year ago in the movie “The Killer” by David Venber, a movie that cost nearly three times the budget, but it was not even an effective part of such a movie. In both films, Fassbnder embodies a person who is not everything-a systematic work, a border occurrence, that his one commitment to the offered mission makes him uniquely to anyone who challenges him.
“Armed” with a list of five colleagues (including Catherine’s name) with the level of clearance and motivation to steal the dangerous Severus technology, George arranges a dinner party in their place for the suspects. “Habibi, you may not give up our guests,” Catherine, her husband, who was increasing the main path with Dzm5 Truth Serum. It is a nice touch by Koepp, the way these two people discuss aspects of trade, as much as any couple may describe an ordinary day in the office.
Each of them notes to each other, Claresa Dubus (Marissa Abella), the observation expert who was spending a difficult time with a relationship in her workplace, notes with Freddy Smalls (Tom Burke). Both are also suspected, as well as the smooth operator James Stokes (Regi Jin Beige, which indicates his potential in James Bond) and his partner/psychiatrist in his office Zoe Von (Naomi Harris).
George and Catherine, surrounded by this slippery group of trained liars, are surrounded by a tense night of mind games, which ends with a guest stabbing a knife of a slice. As usual, Soderbergh is shot all of them, drawing from a profession experience behind the camera to bring an elegant and disturbing feature to what could have been a rough scene, DIY (à at the dinner party that opens the “Laban and Witti). Instead, the director director, director manager for the devastating imaging, commits a large appearance as every lighting source emanates, from small table candles to full chandeliers, intense glow, almost radioactive-a welcome change from “presence”, which made the Ghost-POV GIMICK very central to implement it.
“Back Bag” is a reminder of the fun of Soderbergh when it wanders in the material type materials, from “out of sight” to “Ocean’s Eleven”. He keeps us and Koepp guessing, but they also make us think about something deeper than these characters that could be these characters (not excluding veteran Pierce Prosnan, where they performed a brief but effective performance as the agency president). In the end, it is the issue of marriage that gives the weight of a “black bag”.
The title of the film indicates a security appointment for anything classified that makes confidence in particular difficult among the agents. When something arises, they prefer not to recognize their partner, it can be explained by two words: “black bag” – a spy method for imposing the idea of ”the secret garden”. However, this makes a relationship of impossible meaning in their working line. “We are all professional liars,” Clarisa complains. “How can you say the truth about anything?”
Film games with the idea that Catherine can be at risk. So George, a major investigator, divides full honesty with his wife, even as he achieves Catherine’s next trip to Zurich behind her back. The two insist that they will be killed for each other if necessary, and although there is no little violence on the screen in the movie, Soderbergh has no intention to wrap a “black bag” without testing these allegations. Meanwhile, the team of actors is very comfortable in its roles so that it comes together like the Swiss watch. Both enter a new stage of their career, FASSBERNER and BLANCHITT bring a welcome maturity for their roles, which serve a couple who were together for a long time so that the only lies they needed is looking at each other’s eyes.