Black Bag (2025) is directed by Steven Soderbergh and written by David Koepp. It stars Michael Fassbender, Cate Blanchett, Rege-Jean Page, Naomie Harris, Marisa Abela, Tom Burke, Pierce Brosnan, Gustaf Skarsgard, Kae Alexander, and Orli Shuka. It follows George Woodhouse (Fassbender), a high-level CIA operative who begins to suspect that his wife, Kathryn (Blanchett) – likewise a member of the CIA – is selling classified information to a foreign regime. Uncertain of whether Kathryn is truly complicit in the crimes, George enacts a plan to flush out the mole by any means necessary. As George tests the loyalties of his various colleagues, he and Kathryn are forced to come to terms with the inherently duplicitous nature of their marriage. How far will each of them go for the person they love?

All around, the performances here are top-notch. This really isn’t much of a surprise when considering who the two leads are, but the supporting cast is equally strong. Fassbender and Blanchett are perfectly cast as these kinds of secretive, cold, yet oddly seductive people who have morals but never display them outright due to the nature of their careers. These subtle characters are tough to execute in a way that never feels overly detached, but Fassbender and Blanchett ultimately pull it off. Casting even slightly lesser-caliber performers would’ve hurt this mostly dialogue-driven affair significantly more than most films. In other words, these two carry the film and, for the most part, make up for its lack of traditional action. 

Although Blanchett and Fassbender carry most of the film’s narrative and dramatic weight, it’s clear that the movie wouldn’t work as well as it does without its capable supporting cast. Whether it’s Naomie Harris as a highly intelligent CIA shrink, Tom Burke as an alcoholic field agent, or Pierce Brosnan as the agency’s “cold fish” director, the performances are spot-on. Rege-Jean Page is particularly good as George’s most formidable and capable colleague who toes the line perfectly between a character we know not to trust and who we also want to be wrong about. I think this is partly because Page is such a charismatic actor, his likability shines through even if his character is more or less a scumbag. However, the biggest surprise of the supporting cast is Marisa Abela as one of George’s various colleagues/suspects. Not only is she an extraordinarily alluring and charismatic performer, but she also provides the story with some much-needed comedic relief. It helps that the comedy itself, although rare, is integrated naturally into the dialogue/story. Yeah, it’s not always laugh-out-loud, but this isn’t a comedy, so I’d rather the humor just feel natural.

Most casual viewers will find it challenging to connect to the film’s slower-burning nature. I understand the expectation that a spy film will deliver its fair share of action and violence, but that’s never been what makes the subgenre unique. Soderbergh instead takes a more film-buff approach to the material, prioritizing quiet tension and uncertain character motivations in a way that’s uncommonly engaging if the viewer is able to keep up. That being said, “keeping up” with the plot is occasionally an arduous task for even the most seasoned viewer. These kinds of twisty, confusing plots are common for the subgenre and often require a second watch to fully understand what’s going on. Whether the film will do enough for the viewer upon their initial watch to justify a second is basically a coin toss. I personally landed in the camp where I’d watch the movie a second time in a heartbeat. Still, I’ll be the first to admit that this is mostly because of certain technical and creative choices that’ll only be impressive to diehard filmgoers. It’s a great piece of filmmaking, but it’s not always particularly accessible/entertaining in a traditional sense. That being said, the script makes the wise choice to wrap up all of its subtle and sometimes even confusing storytelling with a satisfyingly straightforward climax. It lacks a bit in terms of subversion/surprise, but it works to balance the film tonally in its final moments. 

Overall, this is a well-directed, capably-acted, and stylishly-shot slow-burn spy thriller that will easily appeal to diehard film buffs but is sure to alienate more casual audiences. I don’t even think the casual viewers are necessarily wrong in having this opinion, it just points out how niche the movie’s thrills actually are. I’ve only seen it once, but it’s clear that this is the kind of film that will only get better upon a rewatch. It doesn’t rely on surprises or twists that will inevitably lose their power after one watch. Instead, it relies on the timelessness of its craft and the script’s ability to seamlessly explore themes of martial distrust within a context where the consequences are infinitely more dire. B