The trailer for Steven Soderbergh’s Black Bag immediately caught my eye. There was something very enthralling about its sleek restraint and its overwhelming sexiness, delivered more in the twinkle of Cate Blanchett’s eye and the polished repression of Michael Fassbender’s rigid spine than in any kind of baring of skin. And it is exactly this energy, a blend of actors with crackling chemistry, a polished, minimalist aesthetic, and an at once smoothly jazzy and thrummingly percussive soundtrack, that makes the movie an enjoyable 90-minute experience. Although the specific details of Black Bag‘s plot are largely indiscernible throughout the film, it doesn’t matter that much because the movie’s purpose is more to mediate on manipulation and relationships than to worry too much about the logistics of spycraft.
Black Bag offers a new entry into an increasingly popular genre of fiction, which includes the likes of the Knives Out movies and The White Lotus series. In this genre, a collection of truly terrible people, played by truly magnificent actors, suck you into the dramas and interpersonal relationships of their world as a mystery of a kind plays out. Watching these creations leaves you feeling disgusted, enthralled, and totally captivated. In my opinion, there cannot be enough of this on-screen energy out there—one part gossipy, one part thriller, one part romance, shaken altogether and poured into a tall glass.
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But Black Bag‘s offering ups the ante. The players are far more competent than in the usual fare, elevating the conceit. In Black Bag, the main characters are smart, master manipulators. They have a certain elegance which promises violence in a heady way that carries throughout the movie. And so, their deceptions and alliances are that much more striking.
Black Bag is steeped in a more grown-up kind of sexiness and relational dynamic than what we usually see on our screens. The idea that there’s nothing more attractive than someone committing to something, be it a profession, a romance, or a personal ethos, drives the allure of the story. This facet is clearest in the intoxicating tangle between Cate Blanchett’s Kathryn St. Jean and Michael Fassbender’s George Woodhouse. They are two of the best agents in the business and are both agonizingly good at what they do. The only thing more important to them than the work is one another… but what if doubt enters that equation? Well, then, sparks will truly fly.
Surrounding the pair, and appearing as both friends and enemies at once, are a whole cabal of sociopaths. These include Tom Burke’s philandering Freddie, Marisa Abela’s Clarissa, a seemingly brash and naive cyber comms expert who is Freddie’s current girlfriend, Naomie Harris’ Dr. Zoe, a psychologist among spies, and Regé-Jean Page’s James, a rising star with a devilish smile. Black Bag weaves an intricate and tangled web between the six figures (and the three couples) that is the film’s true heart. Not a one of them is less devious than the next. Somehow, all present their amorality in totally differing, and yet incredibly attractive ways.
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For me, second to Blanchett, Abela’s Clarissa truly steals the show, offering a masterclass on developing a character and unfurling unexpected depths. Of course, I am always a fan of any performance that Regé-Jean Page delivers. This role allows him to flex a new kind of acting muscle. He offers a shrewder and colder performance than we’ve seen in his other major turns.
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As important as the characters is Black Bag‘s very specific aesthetic. The movie paints us an incredibly minimalistic backdrop, perfectly highlighting the close-to-the-chest game its main actors are playing. Everything feels very austere and angular, often empty, and sharp-edged, to be sure. But every so often, the jazzy slide of David Holmes’ soundtrack comes in to offer lushness around the edges, hinting at hidden secrets leaking out. Steven Soderbergh, of course, serves as cinematographer and editor, in addition to director. And his deft hand crafts the movie with incredible certainty. Finally, we would be remiss not to also mention costume designer Ellen Mirojnick. The extensive, immaculate array of turtlenecks, leather jackets, watches, and glasses that parade through this movie, all in a tasteful palate of neutrals, were key to that efficient erotic energy Black Bags exudes—quiet luxury on high.
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Less critical to the movie is its plot. Ostensibly, the whole film hinges on the theft of a cyber-program called Severus, which we eventually learn can destabilize nuclear reactors. But this part of the movie is fairly difficult to understand fully and to really keep track of. It almost seems like Black Bag isn’t that interested in explaining to you the intricacies of spy work and international tensions at play here. More so, the movie seems to hope that you can just come aboard to the idea that something important has gone missing and bad things could happen because of it. Isn’t that enough? If the movie had been any longer or less well acted, no. In this case, we’ll give it a pass. Cate Blanchett’s half-smile will have us agreeing to just about anything.
Black Bag pulled us into a world of erotic menace and masterful manipulation. Though the movie didn’t care too much about every detail, the ones it chose to focus on were delivered with breathless precision. It knew exactly how to deliver on its strengths and left us wondering how we would fare in a world full of so many sharks. We may never know, but we can enjoy a brief foray into the fray with Black Bag.
This articles is written by : Nermeen Nabil Khear Abdelmalak
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By Nermeen Nabil Khear 
