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Heartbeats

Heartbeats

Drama · Romance · 2010

Francis is a young gay man, Marie is a young straight woman and the two of them are best friends -- until the day the gorgeous Nicolas walks into a Montreal coffee shop. The two friends, instantly and equally infatuated, compete for Nicolas' indeterminate affections, a conflict that climaxes when the trio visit the vacation home of Nicolas' mother. The frothy comedy unfolds through narrative, fantasy sequences and confessional monologues.

Movie details

Heartbeats

2010 Drama · Romance 1h 37m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Francis is a young gay man, Marie is a young straight woman and the two of them are best friends -- until the day the gorgeous Nicolas walks into a Montreal coffee shop. The two friends, instantly and equally infatuated, compete for Nicolas' indeterminate affections, a conflict that climaxes when the trio visit the vacation home of Nicolas' mother. The frothy comedy unfolds through narrative, fantasy sequences and confessional monologues.

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 Heartbeats?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Xavier Dolan

Written by

Xavier Dolan

Monia Chokri

Monia Chokri

Marie

Niels Schneider

Niels Schneider

Nicolas

Xavier Dolan

Xavier Dolan

Francis

Anne Dorval

Anne Dorval

Désirée

Anne-Élisabeth Bossé

Anne-Élisabeth Bossé

Young Woman

O

Olivier Morin

Young Man

Magalie Lépine-Blondeau

Magalie Lépine-Blondeau

Young Woman

Court is in session

Put Heartbeats 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.