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Fanny

Fanny

Drama · 2013

"Fanny" is the second part of the "Marseille trilogy", made by Marcel Pagnol with the generic name of "Marius, Fanny and César". Fanny falls in love and is abandoned by Marius. Now she discovers she is pregnant. Her mother and Marius's father, César, persuade her to accept the romantic advances of a much older man. To save face, Fanny accepts to marry Honoré Panisse, a rich merchant of the Vieux Port, 30 years her senior who will recognize her son.

Movie details

Fanny

2013 Drama 1h 42m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

"Fanny" is the second part of the "Marseille trilogy", made by Marcel Pagnol with the generic name of "Marius, Fanny and César". Fanny falls in love and is abandoned by Marius. Now she discovers she is pregnant. Her mother and Marius's father, César, persuade her to accept the romantic advances of a much older man. To save face, Fanny accepts to marry Honoré Panisse, a rich merchant of the Vieux Port, 30 years her senior who will recognize her son.

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 Fanny?

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

Daniel Auteuil

Written by

Daniel Auteuil

Daniel Auteuil

Daniel Auteuil

César Olivier

Victoire Bélézy

Victoire Bélézy

Fanny Cabanis

Jean-Pierre Darroussin

Jean-Pierre Darroussin

Honoré Panisse

Raphaël Personnaz

Raphaël Personnaz

Marius Olivier

Marie-Anne Chazel

Marie-Anne Chazel

Honorine Cabanis

Nicolas Vaude

Nicolas Vaude

Mr. Brun

Daniel Russo

Daniel Russo

Félix Escartefigue

Court is in session

Put Fanny 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.