Netflix’s Passing by Rebecca Hall is an adaptation of Nella Larsen’s novella (1929) telling the story of two biracial women. What gives the screenplay a unique edge is that one of the women chooses to navigate society identifying as a white, whilst the other (although arguably able to) chooses not to. The film's discrete nature tells the story of how these similar, yet different women begin to transform each other. Taking to Netflix in November, the short yet captivating film is a window into the history of colourism and social identity.
Rebecca Hall, who both wrote and directed the film is the renowned daughter of theatre director Peter Hall and opera singer Maria Ewing. She revealed that this film was an extended representation of her childhood, where she recollects questioning whether her mother was a black woman. Although not voicing it loudly, it was a question that sat against the walls of her mind. It was later that she learned her granddad from her mother’s side had in-fact raised all his children as white.
As a black woman often asked if I’m “mixed with anything” I could relate to the idea of racial ambiguity being intended as a form of praise. It is an awakening reminder that “passing” although sometimes glamourised is rather a painful lie to live by, to know that in gaining material wealth one must give up themselves.
Irene – played by Tessa Thompson, alongside Clare who is played by Ruth Negga remain the main characters as to which the story situates around. The two women are depicted as childhood friends who because of time and distance – lost touch. It is not until they catch a glimpse of each other across the tables of the whites-only Drayton Hotel, that they realise just how much space has grown between them. Irene often refuses to utilise the privileges her features acquire her with, whilst Clare abuses it, gaining riches through her disturbingly racist white husband (played by Alexandra Skarsgard). In the eyes of her husband, Clare is nothing but white. Of course, Irene knows otherwise. In early parts of the film, the women talk of their children. Irene references her two sons who she describes as “dark” and Clare mentions her daughter who she exclaims can also pass, but of which will be the first and last of her children. A little after, they are accompanied by Clare’s rather obnoxious husband, who concludes that like his wife Irene is white and without knowledge of the truth begins expressing his deep loathing for all black people. In an incredibly uncomfortable dialogue where the N-word was being dropped profusely, what becomes clear is Irene and Clare sit on very opposite ends of the fence.
The storyline complexifies further when Clare consistently implements herself into Irene’s family home and social life. The antithesis between the two women runs through the film. Clare emits beauty and desire; she is admired by all those around her and yet is drawn to Irene’s simple and reserved lifestyle. Although we see Irene profess, she had all she could want there are questions as to whether she envies Clare. Might Irene yearn for the chance to relieve herself from the restraint’s society places on her? Is that she wishes she could possess the social mobility Clare does? This is a film that demands you remain open-minded, as each character is peeled back and made to confront what’s underneath.
Passing is filmed in alluring tones of black and white that work fantastically to compliment the context. Hall also chose to present the film through a 4:3 screen ratio, adding to its already crisp visuals, as most films today are presented through a 16:9 ratio. Its claustrophobic composition heightens the sense of entrapment that remains a key theme. If like me, you dared to watch Passing before reading the novella, then you’ll know the almost constant feeling of anticipation throughout. Watching as these two women pull and push at each other, unable to synchronise, will leave you asking just how it will end. Unfortunately, I cannot answer that for you. All I can do is reassure you that this is worth your time. With it being easily accessible on Netflix, you too can watch this perfect tragedy unfold. Whether it be in the comfort of your living room or cosy bed, it remains patiently waiting and hoping to latch onto your attention in its gripping plot.