Courtesy of Universal

Imagine the psychological and intellectual spycraft of a John le Carré novel fused with a pulpy “Mr. & Mrs. Smith”-style premise. Include a dash of Agatha Christie and the result is Steven Soderbergh’s exquisite “Black Bag,” released in March 2025.

“Black Bag” follows secret agent George Woodhouse (Michael Fassbender) as he investigates his wife, fellow spy Kathryn St. Jean (Cate Blanchett) for treason. Woodhouse is forced to confront what the film describes as his “professional weakness”: his unyielding loyalty to his marriage.

As a director, Soderbergh employs two modes of filmmaking. As perhaps the most prolific active filmmaker (having produced no less than 10 feature films and several television series since 2017 alone), the man behind “Traffic,” “Contagion” and “Erin Brockovich” is responsible for a wide variety of work. On one hand, Soderbergh loves experimenting with form and narrative. His 2024 film “Presence” takes place entirely from the first-person perspective of the ghost haunting a family. On the other hand, the Academy Award winner also excels at constructing traditional, propulsive, star-driven thrillers like the “Ocean’s” franchise. If “Presence” fell into the former category, “Black Bag” fits squarely in the latter. 

From the opening nightclub tracking shot to the two dialogue-heavy dinner party sequences bookending the film, there’s a confidence in the direction indicative of an experienced storyteller. Ever since bursting onto the scene in 1989 with “Sex, Lies, and Videotape,” Soderbergh has demonstrated a strong grasp of pace and style. “Black Bag” has an inherent sexiness that could only come from the man who made “Out of Sight.”

That sexiness not only radiates off the electric chemistry of our two leads, but also oozes out of screenwriter David Koepp’s phenomenal script. “Black Bag” never looks down upon its audience. Instead, it treats viewers like intelligent adults who can follow a complex, twisty story. There’s a theatrical quality to the script, as it comprises primarily dialogue-based set pieces that could easily be reworked into a stage production. The central mystery is compelling and the conclusion is satisfactory. Above all else, it’s the interpersonal relationships of the ensemble that invigorate “Black Bag.” 

Koepp’s sharp characterization allows for fantastic supporting turns by Marisa Abela, Pierce Brosnan, Naomie Harris, Regé-Jean Page and a deliciously slimy Tom Burke. On top of all that, the film has a quick-witted sense of humor filled with funny quips and barbs that don’t undercut the dramatic stakes.

Every aspect of this movie is deceptively accomplished. Soderbergh makes it seem slick and effortless, but the underlying craft is undeniable. This is most apparent in the lead performances. Blanchett’s guarded, enigmatic nature and slinky physicality pair perfectly with Fassbender’s icy, anti-charisma (reminiscent of his work in David Fincher’s “The Killer”) to create the perfect spy couple. The only thing more believable than their status as spies is their devotion to each other.

 On a technical level, Soderbergh serves as his own director of photography. “Black Bag’s” natural lighting involves a multitude of candles which, in conjunction with the anamorphic photography, create a sort of glowy haze. The visual murkiness nicely mirrors the motivational and moral murkiness that pervade every spy story. Similarly stylish are the movie’s stunning production design and jazzy score. 

There’s a moment in “Black Bag” where, upon inquiring into the nature of Woodhouse and St. Jean’s seemingly impenetrable marriage, Abela’s scene-stealing character makes a hilarious declaration: “My God, that’s so hot.” 

I can think of no better encapsulation for the film. 

10/10