Black Bag

In his approximately 35-year career, director Steven Soderbergh has made more than a handful of remarkable films. Although he occasionally takes breaks, but he still remains a highly prolific filmmaker. This year, he has two new releases: Black Bag and Presence, the latter is a horror film and both are written by David Koepp. Black Bag is a gripping and entertaining spy thriller that showcases Soderbergh’s distinctive style. The film features an exceptional lead duo, Michael Fassbender and Cate Blanchett, who portray a married couple, George and Kathryn. Both work for the British intelligence agency and appear to be deeply in love—until complications arise. As a spy thriller, “Black Bag” combines the intellectual depth of a John Le Carré novel with the romantic tension characteristic of a Hitchcock film, a director not typically associated with romance. The film successfully balances style and substance, a rarity in cinema these days.

While watching Black Bag – Steven Soderbergh’s latest film – I was reminded of Sriram Raghavan more than once. After all, both Raghavan and Soderbergh operate in hardened, grown-up genres. They’re both cinephiles, and therefore well-versed in the unwritten ‘contract’ between a genre and its aficionados, along with being crafty enough to flip the switch on the staples, time and again. They also seem to shoot their films in a non-pompous manner, whose grounded style doesn’t necessarily mean it lacks flavour. Helming thriftily-produced films that make dialogue sound like a martial arts sequence, both filmmakers might make cynical films about dark human impulses, but a deeper examination of their works prove they’re inherently idealists.

Some of the sexiest thrillers aren’t about the plot. They invite the viewer to slice through a perfectly sculpted body—not murderously, of course—and try to find a tiny, beating heart within. The sleekness of the body matters. And perhaps no contemporary filmmaker encourages such surgical eroticism more than Steven Soderbergh. His movies are so wildly watchable — even when they’re not great — because the style itself is the substance. Black Bag is perhaps his most complete work in a decade; it’s a London-set spy thriller where the very concept of espionage becomes a parable for the devaluation of trust in modern-day relationships. Soderbergh and writer David Koepp don’t come at it from a nostalgic back-in-our-day space. If anything, they fetishise what it takes to keep a tradition alive in an institution that’s rigged against the anatomy of faith. The framework is clever. The film revolves around a cold-blooded British intelligence agent, George (Michael Fassbender), who must investigate a top-secret leak and find the traitor among his colleagues. The details are not important; let’s just say there’s the standard threat of a nuclear meltdown and dissolved governments. One of the five suspects, however, is Kathryn (Cate Blanchett), his wife and fellow intelligence agent. George and Kathryn are kind of an urban legend in the spy world — not because they’re excellent at what they do, but because they’re married and intensely committed to each other in a vocation that requires duplicity, roleplay and moral ambiguity. They’re a social anomaly, so much so that a dinner invite to their home feels like a “visit to our parents”. It’s a marriage so solid that when George goes up to Kathryn’s floor, everyone in her meeting (including her superior) automatically pauses — you can almost hear the mental eyerolls in the room. They’re used to it.