Black Bag

A Spy Thriller Where Secrets Cut Deeper Than Betrayal

Steven Soderbergh continues his prolific filmmaking schedule, delivering his second film of the year—and we’re only three months in. These two films are also vastly different, further proving the American auteur’s chameleonic ability to shift between genres and tones. His first film of the year was the haunted house thriller Presence (2025), and now, he presents the espionage drama Black Bag (2025).

Black Bag follows George Woodhouse (Michael Fassbender), an agent with the British National Cyber Security Centre, who is assigned to uncover a mole within his agency. The suspects include his own wife, Kathryn St. Jean (Cate Blanchett), a fellow agent he deeply loves. As George investigates, he must grapple with the ultimate question: where does his loyalty lie—with his marriage or his country?

Soderbergh reunites with screenwriter David Koepp for their third collaboration, following the Rear Window (1954)-esque Kimi (2022) and Presence. Their partnership continues to yield some of their best work in years, and Black Bag is no exception. By centering the story on cyber-security experts rather than traditional James Bond-style field agents, the film shifts into a more cerebral, psychological thriller, where the ability to detect deception is more crucial than physical combat.

The title Black Bag symbolizes the secrets George and Kathryn must keep from each other due to their work—secrets that sustain their marriage but also threaten to destroy it. Soderbergh and Koepp craft the film with clear influences from both Mr. & Mrs. Smith (2005) and classic Hercule Poirot mysteries. The latter influence is evident in the film’s structure, as we cycle through a roster of potential suspects, played by a talented ensemble of British actors: Regé-Jean Page, Tom Burke, Marisa Abela, and Naomie Harris. The film even delivers a climactic dinner-table reveal, where the true traitor is unmasked.

While the film still features some spy genre staples—globe-trotting, surveillance, and covert meetings—its more grounded setting allows for richer character development and deeper audience engagement. George is portrayed as an obsessive, meticulous man—so detail-oriented that a small stain on his shirt sleeve compels him to change his entire outfit. Fassbender brings his signature interiority to the role, presenting an inscrutable exterior while subtly conveying the turmoil within. Meanwhile, Blanchett exudes old-Hollywood glamour, making every glance and gesture enigmatic, leaving the audience constantly questioning where her true allegiances lie. Among the supporting cast, Burke steals scenes with ease, while Abela shines as a slippery junior agent with her own agenda.

As is often the case with Soderbergh’s work, he takes on multiple creative roles, handling both editing and cinematography under his frequent pseudonyms. His meticulous craftsmanship elevates even the most mundane moments—whether it’s hacking a satellite or preparing a home-cooked meal, every scene is executed with precision and purpose. The result is a film that flows seamlessly, maintaining a steady pace without ever testing the audience’s patience, despite its relative lack of high-octane action.

If Black Bag stumbles, it’s in its final act, where the narrative becomes slightly overcomplicated. The stakes feel laughably generic, with a MacGuffin device potentially in the wrong hands. The number of suspects also feels one or two names too long, leading to some dilution of character depth. A tighter ensemble would have provided greater clarity and allowed for more intense development of George’s suspicions.

Ultimately, Black Bag is an expertly crafted spy thriller—one that trades explosions for introspection and gunfights for psychological warfare. With a sharp script, gripping performances, and Soderbergh’s masterful direction, it stands out as one of the more compelling espionage films in recent years.

7.9/10