The wonderful new spy movie “Back Bag” is, among other things, a glamorous poem for a happy marriage. I am partially referred to to the union between the central characters of the film, George Woodhaus (Michael Fassbandar) and Catherine St. Jean (Kate Blanchett), and the UK Upper Intelligence agents who have been a long -term couple. But I also describe the flourishing creative partnership between director Stephen Soderberg and screenwriter David Cope – ancient warriors in the heavy Hollywood, both in the early 1960s, who found in each other a great and self -spirit. Both soderbergh and Koepp understand the type of type from the inside; They also know that these mechanics, which are known for the appropriate lubrication and an explosion of inspiration, can still result in rich enjoyable profits.
They have gathered three individuals of excitement over the past three years, and each of them spoils intelligence, elegance and low official creativity. The first of them, “Kimi” (2022), was a new exercise for an analyst on information technology analyst Corona virus diseaseExacerbated case of fear; I played like “view view”, “scenery” or “back window” with browser windows. After that came “The presence” (2024), an unusually innovative haunted film that turned the camera into a spectrum-ghost observer in the device. Both films were perfect at home for a bone crazy, both, both expected, in various ways, contradictory magic with increasingly contemporary monitoring technology: Alexa virtual assistant in “Kimi”, which is a hand -registered device in “existence”.
Although Slicker and Starrier clearly of its direct predecessors, “Back Bag” revolves around a home conquest. (The exact nature of the fracture, including means, motivation, and the identities of the perpetrators, are largely kept under large rolls until the final scene monitored is used.) At the same time, monitoring comes with the six professional position. “I can feel when you watch me,” Catherine sets out to her husband one night, knowing his eyes on her wearing dinner. George is, in fact, a very good observer. It is known that he was so hard for Spycraft to the extent that he wiped his father’s fraud. In the face of this unpleasant memory, George simply replies, “I do not like liars” – a line it provides Fassabander with ice success that reminds us of George the most famous in literary espionage: John Le Carrie George Smiley, as he was influential in skill.
Unlike Smiley, however, George Woodhaus is unmarried from the serial adulterer. It seems that it is unlikely to be a picture of romantic stability as you can find in a profession that requires extremist duplication around the clock. George and Catherine do not give up, but rather they divide: the “black bag” is an abbreviation that developed for Intel, the highly sensitive designer to participate with each other. However, of course, since “Back Bag” is a multi -purpose alibi, it is also the perfect cover for spying planning for both husband or country betrayal. With the opening of the story, George was assigned by the top NCSC (GUSTAF SKARSGåRD) with such a traitor. There is immortal in the middle of the organization, and there is a fatal weapon, a weapon called Severus, at the risk of making an error. Thus, George began to arrest the mole with his unbearable and unbearable style, calling four colleagues, all of whom suspected a dinner party in the wonderful London apartment in Catherine. There, under low amber lighting, George connects the food with lipstick and is waiting for mole to drop an idea.
In a strange development, the list of guests consists of two other couples, making Shenigan an inevitable dinner party playing a little like James Bond via Edward Albi-Lie, “Who is afraid of Virginia W007F?” There is Zoe (Naomi Harris), who, as a psychiatrist for employees, has the ability to access the secrets of almost everyone, and her friend, James (Regi Jin Big), an ambitious colonel that is also considered one of her patients-an unimaginable arrangement at many levels. The other two calls for a more volatile duo: Claresa (Marisa Abella), a young data expert, quickly and violent violence with Freddy, an old sarcastic agent known for drinking and disturbing excess. Freddy played, wonderfully, by Tom Burke. After his roles in the movie “The Souvenir” and the “Strike” series, it is clear that he has no counterpart in Boozy’s ability.
Some twisted fun, games predict and reverse results immediately. Sexual patterns and tendencies are strained, naked naked nakedness, and a scene of hard back back – and in one case, rejects blood. All strange George, a hand in psychological manipulation, convinced along with kindness from the bowl. He and his wife note the consequences through a specific analytical separation, although you can discover, in both the beautiful poker faces in the Fassbnder’s and Blanchett, a slice of personal theme park-a cat game. It is not only that George and Catherine are likely to carry a traitor; They deal with colleagues whose personal lives are the definition of hot chaos, and who make their model from Jouledom seem more envy than comparison.
Why, then, do we discover a tremor of uncomfortable under the surface of George and Catherine’s cold and comfortable marriage? Perhaps because Fassbnder and Blanthett can overwhelm even a passing glimpse with giants of complications and nuances – or perhaps because the only thing George does not tell her that she is, too, on the list of suspects, and he wipes her with their guests. He had ordered her, before dinner, to avoid a Masala. It is necessary to realize that, like Catherine, we have only the word George. Perhaps wine risen instead.
The filming of Naomi Harris, the latest incarnation of Moneypenny, is not the only advice for the movie from Trilby to James Bond. Pierce Prosnan appears gray and glowing through the president of Peevish, and he is skipping the transparent board hall. It seems as if Agent 007, after rudely kicking him on the upper floor, is now determined to make life miserable for the next generation in this field. However, there is only a soup of conspiracies wandering around the globe here, and barely inspired enough to rehabilitate a “black bag” such as action, although little that has not been shown with elegance and balance. Soderbergh and Koepp operates quickly and a minute, and they never repeat a trick. They give us exactly the sequence of a mysterious murder. One car explosion at the hands of accuracy. One of the nail nails of the secret appointment, was appointed to a picturesque Zurich; A fatal fiery fired, indicating the height of the story with the clean Chekhovian finals.
If the physical work has been removed in Persimonious bites, then verbal action is a heavy feast of double aid. Aside from two series where all the six major characters gather under the roof of George and Catherine, almost every decisive scene takes the shape of the Pas De Deux, loaded with secrets and lies that can be almost unable. When James falls some unwanted Intel during a hunting trip with George, it is difficult to know exactly who is fed from; When Kathryn has a mandatory treatment session with Zoe-a reaction that Blanchett and Harris play with diamonds-diamonds-you can see and hear every woman trying to enter the head of the other. There is a fun and almost chosen energy for the way Koepp continues in the pairing of its characters, in new and amazing configurations, and all actors rise to the challenge with amazing ingenuity. The most sparkling exchanges between George and Claresa, who saw the last time in the storm as she climbed to a storm like Amy Winehouse in “Back to Lions” (without a relationship), is investing with an irresistible spark of desire. Clarissa may have an unspeakable functional title for “Data Combat” – as if the data was Parkanles, to be arduous from the huge internet body – but it comes out, in the malicious performance of April and an inspired performance, as it is the most evil mind in the movie.
It is George and Catherine, of course, that forced the most attention because their relationship is threatened, and whether this threat comes without or inside is the most urgent ambiguity in the movie. (The highly moved weapon is called Severus may be a sign of ancient Rome, but, if you divide the word into two parts, you may find a homogeneous warning about the danger that Severus of the happy couple. Without disclosing a lot, the “black bag” gives a lie to this assumption; The unilateral commitment, as it suggests, has a place even in a world that left such one.
If this seems unpopular optimistic, this is in line with the usual morals – and the uncommon rejection of ridicule – which has become an important objective basis for Soderbergh and Koepp. “Kimi”, for all its digital traps, was eventually about a fearful closure of the courage to bring the killer to justice. “Existence” was about a ghost to do everything in his power to save the life of another person; The explicit Catholic foundations, as my colleague Richard Brodi recently, indicated, insisting on the idea that the higher powers are working in human life. Their strong belief: in the magic of tempting espionage and magnetism, Blantittttttt and fasbnder interlocking – this means, in twisted art and the power of films.
