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Lost in Paris

Lost in Paris

Comedy · 2017

Fiona visits Paris for the first time to assist her myopic Aunt Martha. Catastrophes ensue, mainly involving Dom, a homeless man who has yet to have an emotion or thought he was afraid of expressing.

Movie details

Lost in Paris

2017 Comedy 1h 23m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Fiona visits Paris for the first time to assist her myopic Aunt Martha. Catastrophes ensue, mainly involving Dom, a homeless man who has yet to have an emotion or thought he was afraid of expressing.

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 Lost in Paris?

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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Divorce French Style

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Daddy Cool

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Adrien, 40 years old and totally immature, is dumped by Maude, 35 years old, eager to finally found a family. In an attempt to regain the love of his life, Adrien decides to move into the future ex-married apartment: a nursery home - The beginning, an improbable educational experience.

A Difficult Year

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Alter Ego

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Names above the title

The people responsible.

Directed by

Fiona Gordon · Dominique Abel

Written by

Fiona Gordon · Dominique Abel

Fiona Gordon

Fiona Gordon

Fiona

Dominique Abel

Dominique Abel

Dom

Emmanuelle Riva

Emmanuelle Riva

Martha

Pierre Richard

Pierre Richard

Duncan

E

Emmy Boissard Paumelle

Young Fiona

Céline Laurentie

Céline Laurentie

Young Martha

C

Charlotte Dubery

The Reader

Court is in session

Put Lost in Paris on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Adrenaline Seeker

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.