‘The heart of Passages is the possibility of change to happen in a moment,’ explains writer-director Ira Sachs on his darkly humorous drama and character study of narcissistic and volatile film director Tomas (an explosively brilliant performance by Franz Rogowski). When, on a whim, Tomas leaves his husband Martin (Ben Whishaw) to begin a relationship with teacher Agathe (Adèle Exarchopoulos), his actions alter each of their lives forever.

All the characters in Passages are searching for meaning through the passionate relationships they strike up, and as Sachs so succinctly puts it, ‘in every moment of the film the question of power is central’. For the most part it is Tomas who wields the power in his life.

Sachs specifically took inspiration for Tomas’ behaviour from a behind-the-scenes excerpt of French director Maurice Pialat directing the 1985 film Police. ‘Pialat was significant. That [clip] was in such a brief and economic way an example of what kind of power can be used and potentially exploited on set by men. When do men with power become repellent?’

Pialat’s 1983 masterpiece À Nos Amours was also a huge influence on Passages, as was the work of John Cassavetes and Chantal Akerman whose 1974 film Je Tu Il Elle informed the steamy, elongated sex scenes in the movie. ‘Chantal’s work and particularly that film gives me permission to create images that, in the culture that I live in, might otherwise be forbidden. I hope that my film reminds people of what is possible in terms of depiction of intimacy in the movies.’

Sachs explains that in his work he is predominantly looking to portray ‘honest moments’. The semi-autobiographical Keep The Lights On followed a gay couple whose relationship is damaged by addiction, while in the tenderly crafted Love Is Strange, finances and prejudice intrude on a beautiful long-term relationship.

In Passages, Tomas’ destructive behaviour is a catalyst for chaos. ‘In general he is a man who believes that the rules of the world are not made for him,’ says Sachs. ‘This is also a film of youth. I think of the risks that young people put themselves through in order to try and figure out what they want and who they will be.’ 

Which brings us back round to À Nos Amours, with Sachs reflecting, ‘I was talking to someone about my Sight & Sound Top Ten and so many of them were about adolescence . . . because it’s perfectly cinematic. Everything happens with self-consciousness and with such poignancy at that age. My kids are that age now. They are right at the age where play ends and pain begins.’ 

Passages, Vue Omni, 19 August, 8.15pm, 8.30pm, 8.45pm; 20 August, 11.35am.

Sunday Salon with Ira Sachs, Brandon Taylor & Kate Taylor, Edinburgh College Of Art, 20 August, 6.30pm.