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Beyond the Clouds

Beyond the Clouds

Drama · Romance · 1995

Four tales, each centered on a woman, journey inward to explore the enigmatic reality of their lives, connecting through a single narrative thread.

Movie details

Beyond the Clouds

1995 Drama · Romance 1h 50m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Four tales, each centered on a woman, journey inward to explore the enigmatic reality of their lives, connecting through a single narrative thread.

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 Beyond the Clouds?

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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Love in the Afternoon

Love in the Afternoon

Drama · 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.

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Tess

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Where it lives

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Names above the title

The people responsible.

Directed by

Michelangelo Antonioni

Written by

Michelangelo Antonioni · Tonino Guerra · Wim Wenders

Fanny Ardant

Fanny Ardant

Patricia

Chiara Caselli

Chiara Caselli

Mistress

Irène Jacob

Irène Jacob

The Girl

John Malkovich

John Malkovich

The Director

Sophie Marceau

Sophie Marceau

The Girl

Vincent Perez

Vincent Perez

Niccolo

Jean Reno

Jean Reno

Carlo

Court is in session

Put Beyond the Clouds 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 Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.