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Five Times Two

Five Times Two

Drama · Romance · 2004

As young French couple Gilles and Marion officially separate, we see, in reverse order, the milestone moments in their relationship: Gilles revealing his unfaithfulness at a tense dinner party; Marion giving birth to their premature son while Gilles is elsewhere; Gilles and Marion's joyous wedding; and, finally, the fateful moment when they meet as acquaintances at an Italian beach resort, and their love affair begins.

Movie details

Five Times Two

2004 Drama · Romance 1h 30m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

As young French couple Gilles and Marion officially separate, we see, in reverse order, the milestone moments in their relationship: Gilles revealing his unfaithfulness at a tense dinner party; Marion giving birth to their premature son while Gilles is elsewhere; Gilles and Marion's joyous wedding; and, finally, the fateful moment when they meet as acquaintances at an Italian beach resort, and their love affair begins.

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 Five Times Two?

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

François Ozon

Written by

François Ozon · Emmanuèle Bernheim

Valeria Bruni Tedeschi

Valeria Bruni Tedeschi

Marion

Stéphane Freiss

Stéphane Freiss

Gilles

Françoise Fabian

Françoise Fabian

Monique

Michael Lonsdale

Michael Lonsdale

Bernard

Géraldine Pailhas

Géraldine Pailhas

Valérie

Antoine Chappey

Antoine Chappey

Christophe

Marc Ruchmann

Marc Ruchmann

Mathieu

Court is in session

Put Five Times Two on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.