SUNDANCE 2021: 'Passing'

One of the most highly anticipated films of Sundance, 'Passing,' deals with the unique experience of being mixed-race in America in the 1920s; but also holds a mirror up to how we view being mixed race now. Rebecca Hall's debut film (adapted from the novel of the same name) centres housewife Irene (Tessa Thompson), who, despite her ability to "pass" for white, has a Black husband and Black children and lives in Black America. This is an important distinction considering the social and mental segregation of the time. She deals with society's racial tensions finding its way into her own home despite her best efforts to protect her children from the harsh realities. 

Clare's inner troubles are only redoubled after running into an old school friend Irene (Ruth Negga), who, despite being similarly biracial, took a very different route in life. In the years since they've drifted, Clare chose to take advantage of her ability to 'pass' to secure a white husband and daughter and assimilate into white society. Having run into Irene, Clare then realises that she misses and has a deep affection for the community that she's left behind and begins to try and reconcile the two sides of her life. Irene acts as Clare's bridge for which she can achieve this. However, Irene is more than a little off-put by Clare's immediate accentedness and her ability to charm everyone she meets, including Irene's own husband. Irene is in a constant struggle from then on not knowing whether to reject or accept Clare, out of personal jealousy and the resentment of the privilege Clare can afford. As the film progresses, we begin to see Irene recognise their kindness; "I'm beginning to believe that no one is ever completely happy, free, or safe," tying herself to Clare in their struggles, different as they may be.

Courtesy of Eduard Grau

From left: Ruth Negga and Tessa Thompson in 'Passing'

Shot in black and white 4:3, Passing is not wholly centred on its time-period specific race politics, but also the complexities of women and friendships. This is explored without a definitive nuance, and the film also doesn't necessarily paint its protagonist and deuteragonist in lights of who's right and who's wrong but instead opts for more quiet displays of complex experiences. In many ways, race is only one piece of Clare and Irene's puzzle containing questions of class, motherhood, jealousy, and even attraction. As Irene aptly puts it, "all of us are passing for something or another."

Passing paints a beautiful picture of women, and although it doesn't confront particular subject matter head-on, it gives enough to make you question your own ideas of race today; questions about what it meant to 'pass' back then and what it means to pass now, as conversations about race have become even more mainstream. Even its own director has been embroiled in slight controversy regarding the colourism that may have been involved in choosing her as the director. 

It's important to recognize in these conversations, these issues and the way that we talk about them has evolved from the 1920s. Still, if there's one thing that films like Passing ensure, it's that we are making room for all of the nuances involved in storytelling. 

By Jessica Vance

(she/her)

Illustration by Jo E. (IG: @poltaro)