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Serial Lover

Serial Lover

Comedy · 1998

Claire Doste is about to reach the age of 35 and has everything one dreams of, such as having four boyfriends and a creative job in a publishing house specialising in crime novels. One day, she invites all of her boyfriends to her birthday dinner so that she can pick out her would-be fiancé. But an accident happens when Claire is getting the dinner ready.

Movie details

Serial Lover

1998 Comedy 1h 23m

Critical arithmetic

The consensus, allegedly.

IMDb

6.7 / 10

1.6K votes

TMDB

6.4 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Claire Doste is about to reach the age of 35 and has everything one dreams of, such as having four boyfriends and a creative job in a publishing house specialising in crime novels. One day, she invites all of her boyfriends to her birthday dinner so that she can pick out her would-be fiancé. But an accident happens when Claire is getting the dinner ready.

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 Serial Lover?

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

James Huth

Written by

Romain Berthomieu · Hugo Jacomet · James Huth

Michèle Laroque

Michèle Laroque

Claire Doste

Albert Dupontel

Albert Dupontel

Eric Cellier

Elise Tielrooy

Elise Tielrooy

Alice Doste

Michel Vuillermoz

Michel Vuillermoz

Charles Thiriot

Gilles Privat

Gilles Privat

Chichi

Zinedine Soualem

Zinedine Soualem

Prince Hakim

Antoine Basler

Antoine Basler

Sacha Peters

Court is in session

Put Serial Lover on trial.

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

The defence The Arthouse Gremlin

“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 Cool Ironist

“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.