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The Last Woman

The Last Woman

Drama · 1976

Psychological drama of the compelling relationship between a young French engineer and the girl he takes into his home after his wife has left him with their baby son.

Movie details

The Last Woman

“Love. Hate. Loneliness. Humor. Sensuality. Nothing will prepare you for the devastating climax.”

1976 Drama 1h 48m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Psychological drama of the compelling relationship between a young French engineer and the girl he takes into his home after his wife has left him with their baby 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 The Last Woman?

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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Mammal

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Corporate

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Emilie is a bright young workaholic manager in Human Resources, working for a huge French agro-food company. But, one day, one of the employees commits suicide at the company in front of her. While an investigation is underway, stuck between her traumatized colleagues and under pressure of a powerful hierarchy, she will have to get by on her own.

Around the Bend

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Names above the title

The people responsible.

Directed by

Marco Ferreri

Written by

Marco Ferreri · Rafael Azcona · Dante Matelli

Gérard Depardieu

Gérard Depardieu

Gérard

Ornella Muti

Ornella Muti

Valérie

Michel Piccoli

Michel Piccoli

Michel

Renato Salvatori

Renato Salvatori

René

Zouzou

Zouzou

Gabrielle

Giuliana Calandra

Giuliana Calandra

Benoîte

Nathalie Baye

Nathalie Baye

la fille aux cerises

Court is in session

Put The Last Woman 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.