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Paris 36

Paris 36

Drama · 2008

A star is born in a time of both celebration and instability in this historical drama with music from director Christophe Barratier. In the spring of 1936, Paris is in a state of uncertainty; while the rise of the Third Reich in Germany worries many, a leftist union-oriented candidate, Léon Blum, has been voted into power, and organized labor is feeling its new power by standing up to management.

Movie details

Paris 36

“Music halls, romance, and danger. This is Paris, 1936.”

2008 Drama 2h 0m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

A star is born in a time of both celebration and instability in this historical drama with music from director Christophe Barratier. In the spring of 1936, Paris is in a state of uncertainty; while the rise of the Third Reich in Germany worries many, a leftist union-oriented candidate, Léon Blum, has been voted into power, and organized labor is feeling its new power by standing up to management.

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 Paris 36?

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

Christophe Barratier

Written by

Julien Rappeneau · Christophe Barratier

Gérard Jugnot

Gérard Jugnot

Germain Pigoil

Clovis Cornillac

Clovis Cornillac

Émile Leibovich, aka 'Milou'

Kad Merad

Kad Merad

Jacky Jacquet

Nora Arnezeder

Nora Arnezeder

Douce

Pierre Richard

Pierre Richard

Max, aka 'Monsieur TSF'

Bernard-Pierre Donnadieu

Bernard-Pierre Donnadieu

Félix Galapiat

Maxence Perrin

Maxence Perrin

Jojo Pigoil

Court is in session

Put Paris 36 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.