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The Agency Makes Betrayal So Romantic
A heartbreaking cliffhanger emphasizes the series’ portrayal of love as an act of blissful self-destruction.
There are about a half-dozen separate storylines unfolding over its ten episodes, including young female agent Danny’s (Saura Lightfoot-Leon) training to infiltrate Iran’s nuclear program and a secret operation in Ukraine to assassinate a number of Russian military targets. The Agency ’s chilly cinematography and production design and discordant synth-y score add to that characterization: Icy-blue filters wash out his face, angular compositions amplify his loneliness, floor-to-ceiling glass windows make us feel like voyeurs imposing on his life. The pair’s intimacy allows The Agency to shake itself out of procedural rigamarole and become tactile, warm-blooded, and more like a Michael Mann romance in the mold of Heat, Public Enemies, or Miami Vice — a grand and operatic exploration into the magnetism that pulls men and women together, and the seismic ripple effects such relationships can have on its participants’ respective communities.
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