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Story of Women

Story of Women

Drama · History · 1988

France, World War II. In order to somehow make ends meet, the mother of two children, Marie Latour, does underground abortions and rents a room to a familiar prostitute. She doesn't pay any attention to her husband, who returned from the war because of his injury, and lives her own life. Abortions gradually begin to bring a good income, and boredom can be easily dispelled by starting up with a young lover.

Movie details

Story of Women

1988 Drama · History 1h 48m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

France, World War II. In order to somehow make ends meet, the mother of two children, Marie Latour, does underground abortions and rents a room to a familiar prostitute. She doesn't pay any attention to her husband, who returned from the war because of his injury, and lives her own life. Abortions gradually begin to bring a good income, and boredom can be easily dispelled by starting up with a young 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 Story of Women?

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

Claude Chabrol

Written by

Colo Tavernier O'Hagan · Claude Chabrol

Isabelle Huppert

Isabelle Huppert

Marie Latour

François Cluzet

François Cluzet

Paul Latour

Nils Tavernier

Nils Tavernier

Lucien

Marie Trintignant

Marie Trintignant

Lulu / Lucie

G

Guillaume Foutrier

Pierrot 1

N

Nicolas Foutrier

Pierrot 2

A

Aurore Gauvin

Mouche 1

Court is in session

Put Story of Women on trial.

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

The defence The Auteur Devotee

“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.