Being in a long-term relationship is hard work – and we can only imagine how much more challenging it can become when you and your spouse work in an industry built on suspicion and paranoia. This is a question that Steven Soderbergh asks in Black Bag, a film that he developed alongside David Koepp (with whom he had written Kimi and Presence, both of which are some of his more intriguing works), which tells the story of George and Kathryn, who appear on the surface to be a mild-mannered, loving married couple living and working in London and who are known to throw a solid dinner party where possible, and generally going about their daily routine as we would anticipate from any ordinary citizen. In reality, they both work for “Black Bag”, a secretive organisation for which they are both spies – and when George is given a list of names to investigate after a confidential data breach, he is stunned to discover that his wife is one of the primary suspects, leading him down a path in which he is desperate to rule his wife out as the likely perpetrators, but once he is plunged deep into this sinister conspiracy theory, it becomes far more difficult to actually discern what is reality and what is merely conjecture, and whether or not the people he is investigating are secretly intent on outsmarting him by any means necessary. Yet another incredibly well-crafted effort from a director whose commitment to creating unforgettable cinematic landscapes through redefining the language of storytelling, Black Bag captures a unique energy that is unlike anything else being made in contemporary cinema, examining a number of increasingly intense scenarios while still remaining slick, entertaining and well-crafted, as well as having something of value to say, which is quite a rare occurrence for a film that is seemingly much more engaging than even the most passionate of viewers may anticipate at the start, all the more reason to view this as yet another terrific entry into Soderbergh’s sprawling, versatile career.

There has been quite a bit made about Black Bag and its approach to exploring the genre, which is a much more compelling endeavour than many may expect based on a cursory glance. The comparisons generally (and mostly playfully) allude to this being “James Bond meets Who’s Afraid of Virginia Woolf?“, a comparison that is not entirely without merit, especially since there are some broad conceptual tenets that lend themselves to such similarities. Whether or not Soderbergh intended for such a comparison remains to be seen, but it is clear that he and Koepp were motivated by two broad conceptual strands, namely around the idea of a pair of characters who essentially occupy two broad roles – spouses and spies – and the challenges that emerge when one infringed on the other. There are some tremendously compelling references throughout this film that make it clear that Soderbergh is working from a place of reverence in most instances here – the term “Hitchcockian” is used too frequently to refer to anything vaguely suspenseful and tense, yet this is the first instance in well over a decade where we see a work that is a truly strong, dyed-in-the-wool homage to his work, particularly his twisted, offbeat thrillers in which paranoia is not merely a seasoning, but the impetus for the entire narrative. The concept of looking at a profession that is often viewed as more cold, clinical and detached from other aspects of society – the very core of the vocation – through the lens of the domestic interactions between characters is fascinating, and it’s wonderful to see a well-crafted spy thriller in which most of the action takes place during dinner parties and the nine-to-five workday, infusing Black Bag with a unique energy that evokes something much deeper and more compelling than we would expect based on a cursory glance, and in which the plot device supports the ambitions that define the film.

Soderbergh always could create characters and scenarios that bring out the best in his actors, who he selects based on both their technical skill and how much he seems to enjoy seeing popular performers pushed beyond the confines of what they had done previously, while still retaining some elements that play on their strengths. The idea of Cate Blanchett and Michael Fassbender playing a pair of veteran intelligent ages who have been married for years and have settled into a kind of routine domesticity seems both obvious and revolutionary at the same time, especially since the archetypes in which they are working are so incredibly compelling in a way that feels genuinely quite daring and allows them to experiment with their craft in creative ways. The key to effectively casting this film is to choose actors who are diverse enough to play two very different characters, but also can convincingly play a married couple – it’s not solely a matter of having chemistry, but also finding a kind of quiet antagonism that comes about as a natural successor to the growing tension between them. Both actors are splendid – Blanchett is the definition of an elegant, professional operative and frequently avoids the usual cliches associated with the femme fatale archetype, whereas Fassbender reigns in his usual broad acting style to play a more subtle, quiet character whose intelligence is contained in the silences. They’re joined by a fantastic supporting cast, composed of some of the most exciting young actors, namely Tom Burke, Marisa Abela and Regé-Jean Page, as well as Naomie Harris, who has been around longer but still feels like she is constantly reinventing herself as a performer – and each of these actors has memorable moments that enrich the film and make it much more captivating. Spy thrillers aren’t usually known for fostering the most precise, detail-oriented performances, which is precisely why Black Bag feels like such a major achievement, as it puts the actors first and builds the narrative around their exceptional performances.

There’s an argument that Soderbergh, despite being technically very gifted and extremely prolific (often releasing multiple films a year, this particular year being a great example of this), prioritises pushing the boundaries of his craft to the point where he hasn’t developed a distinct style – some even consider him the greatest director to have never made a true masterpiece, a harsh criticism but one that doesn’t come across as too insincere when we realize that he’s not a filmmaker interested in resting on his laurels, and instead seems to be more intent on challenging himself. Being a revolutionary at the expense of having a masterpiece is not a bad sacrifice, and we find that a film like Black Bag benefits from being helmed by someone who consistently challenges the confines of the medium. The film is a rapid-fire spy thriller that focuses on examining several complex ideas, each one developed with an abundance of creativity and a considerable lack of pretension, choosing instead to focus on the most meaningful elements, which are arranged in an order that feels both engaging and provocative. Unlike many contemporary spy thrillers that layer themselves with over-plotted, meandering attempts at socio-political commentary. This isn’t absent in Black Bag, but it’s more contextual than the primary narrative propellant. The focus is not on saving the world (although this does slightly factor into the story), but rather on the internal machinations of this organization, and the dynamic between various individuals as they begin to realize that working for the same employer does not necessarily guarantee that they’re playing on the same team. It’s extremely entertaining, and while its difficult to say that there are distinct traces of Soderbergh’s directorial style (since he’s much more malleable and his work isn’t easily recognizable, an intentional choice in terms of both form and content), his effortlessly skilful way of putting together a story – including dynamic camera work, complex dialogue and a breakneck speed in which these events unfold – make Black Bad extremely entertaining, a film that captures our attention from the first tense moment and holds it until the very end.

Running at a mere 94 minutes (which is quite remarkable, considering how many entries into this genre have been able to get away with exceeding the two-hour mark, even if it means stretching a narrative extremely thin), Black Bag is a fast-paced, tight thriller within an ounce of fat to be found anywhere, and where Soderbergh’s trademark economical approach to crafting genre works once again proves to be the source of a genuinely enthralling, captivating work that is as entertaining as it is thought-provoking, everything that we would anticipate from such a premise, and which only underlines Soderbergh’s remarkable command of his craft and his ability to craft unforgettable narratives from the most paltry of themes. It’s a wonderfully offbeat and very funny film that is filled to the brim with complex ideas and a sense of sophistication that evokes the spy thrillers of previous decades, taking the story away from the overwhelmingly action-packed direction in which the genre has seemingly settled in recent years, and instead aiming for something far more sincere and elegant, focusing more on the connections between these characters and the deeper meanings that exist below the surface. Some wonderfully engaging ideas are evoked throughout this film, which is a masterful example of blending intense character study with complex commentary on the state of the world, both of which are something that the director works fervently to represent as accurately and with as much sincerity as he can. Black Bag is yet another tremendous addition to Soderbergh’s sprawling body of work, and while we may not see another spy thriller from him anytime soon (as he’ll likely pursue several other genres next), it does prove his skills are just as sharp and exciting as ever before, and quite possibly indicating that we are heading towards another renaissance for a director who is constantly reinventing his style and challenging the medium by extension.