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Indochine

Indochine

Drama · Romance · 1992

In colonial Vietnam, dashing French naval captain Jean-Baptiste, wealthy plantation owner Éliane Devries, and her adopted Vietnamese daughter Camillevare form the three points of a cross-cultural romantic triangle. As the struggle against European imperialism sweeps Indochina, Jean-Baptiste and Camille have to choose sides and Éliane faces the emotionally difficult challenge of raising the child of her daughter and ex-lover.

Movie details

Indochine

“A great film from a mysterious world”

1992 Drama · Romance 2h 39m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

In colonial Vietnam, dashing French naval captain Jean-Baptiste, wealthy plantation owner Éliane Devries, and her adopted Vietnamese daughter Camillevare form the three points of a cross-cultural romantic triangle. As the struggle against European imperialism sweeps Indochina, Jean-Baptiste and Camille have to choose sides and Éliane faces the emotionally difficult challenge of raising the child of her daughter and ex-lover.

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 Indochine?

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

Régis Wargnier

Written by

Régis Wargnier · Erik Orsenna · Louis Gardel · Catherine Cohen

Catherine Deneuve

Catherine Deneuve

Eliane Devries

Vincent Perez

Vincent Perez

Jean-Baptiste Le Guen

Linh-Dan Pham

Linh-Dan Pham

Camille

Jean Yanne

Jean Yanne

Guy Asselin

Dominique Blanc

Dominique Blanc

Yvette

Alain Fromager

Alain Fromager

Dominique

Eric Nguyen

Eric Nguyen

Tanh

Court is in session

Put Indochine 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.