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A Tale of Winter

A Tale of Winter

Drama · Romance · 1992

Felicie and Charles have a whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.

Movie details

A Tale of Winter

1992 Drama · Romance 1h 54m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Felicie and Charles have a whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over A Tale of Winter?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Éric Rohmer

Written by

Éric Rohmer

Charlotte Véry

Charlotte Véry

Félicie

Frédéric van den Driessche

Frédéric van den Driessche

Charles

Michel Voletti

Michel Voletti

Maxence

Hervé Furic

Hervé Furic

Loïc

Ava Loraschi

Ava Loraschi

Elise

Christiane Desbois

Christiane Desbois

Mother

Rosette

Rosette

Sister

Court is in session

Put A Tale of Winter on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.