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Love in the Afternoon

Love in the Afternoon

Drama · Romance · 1972

Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

Movie details

Love in the Afternoon

1972 Drama · Romance 1h 37m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

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 Love in the Afternoon?

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

Bernard Verley

Bernard Verley

Frédéric

Zouzou

Zouzou

Chloé

Françoise Verley

Françoise Verley

Hélène

Daniel Ceccaldi

Daniel Ceccaldi

Gérard

M

Malvina Penne

Fabienne

E

Elisabeth Ferrier

Martine

T

Tina Michelino

The Passenger

Court is in session

Put Love in the Afternoon on trial.

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

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.