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The Strange Ones

The Strange Ones

Drama · 1950

Elisabeth and her brother Paul live isolated from much of the world after Paul is injured in a snowball fight. As a coping mechanism, the two conjure up a hermetic dream of their own making. Their relationship, however, isn't exactly wholesome. Jealousy and a malevolent undercurrent intrude on their fantasy when Elisabeth invites the strange Agathe to stay with them -- and Paul is immediately attracted to her.

Movie details

The Strange Ones

“A love story by Jean Cocteau”

1950 Drama 1h 47m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Elisabeth and her brother Paul live isolated from much of the world after Paul is injured in a snowball fight. As a coping mechanism, the two conjure up a hermetic dream of their own making. Their relationship, however, isn't exactly wholesome. Jealousy and a malevolent undercurrent intrude on their fantasy when Elisabeth invites the strange Agathe to stay with them -- and Paul is immediately attracted to her.

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 The Strange Ones?

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

Jean-Pierre Melville

Written by

Jean-Pierre Melville · Jean Cocteau

Nicole Stéphane

Nicole Stéphane

Elisabeth

Édouard Dermithe

Édouard Dermithe

Paul

Renée Cosima

Renée Cosima

Dargelos / Agathe

Jacques Bernard

Jacques Bernard

Gerard

Jean Cocteau

Jean Cocteau

Narrator (voice)

M

Melvyn Martin

Michael

M

Maria Cyliakus

Mother

Court is in session

Put The Strange Ones 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.