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Mon Oncle

Mon Oncle

Comedy · 1958

Genial, bumbling Monsieur Hulot loves his top-floor apartment in a grimy corner of the city, and cannot fathom why his sister's family has moved to the suburbs. Their house is an ultra-modern nightmare, which Hulot only visits for the sake of stealing away his rambunctious young nephew. Hulot's sister, however, wants to win him over to her new way of life, and conspires to set him up with a wife and job.

Movie details

Mon Oncle

“Mr Hulot takes a precious, playful and purely premeditated look at modern times...”

1958 Comedy 1h 58m

Critical arithmetic

One number, for now.

TMDB

7.4 / 10

Community rating

Genial, bumbling Monsieur Hulot loves his top-floor apartment in a grimy corner of the city, and cannot fathom why his sister's family has moved to the suburbs. Their house is an ultra-modern nightmare, which Hulot only visits for the sake of stealing away his rambunctious young nephew. Hulot's sister, however, wants to win him over to her new way of life, and conspires to set him up with a wife and job.

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 Mon Oncle?

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.

PlayTime

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The Women on the 6th Floor

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The ComDads

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Names above the title

The people responsible.

Directed by

Jacques Tati

Written by

Jean L'Hôte · Jacques Lagrange · Jacques Tati

Jacques Tati

Jacques Tati

Monsieur Hulot

Jean-Pierre Zola

Jean-Pierre Zola

Monsieur Arpel

Adrienne Servantie

Adrienne Servantie

Madame Arpel

Lucien Frégis

Lucien Frégis

Monsieur Pichard

Betty Schneider

Betty Schneider

Betty, Landlord's Daughter

Jean-François Martial

Jean-François Martial

Walter

D

Dominique Marie

Neighbor

Court is in session

Put Mon Oncle on trial.

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

The defence The Arthouse Gremlin

“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.