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Three Lives and Only One Death

Three Lives and Only One Death

Comedy · Crime · Fantasy · 1996

Four intertwining stories of bizarre occurrences in Paris featuring a man who was stolen away by fairies, a professor who becomes a tramp, the lovers who inherit a chateau – and the last tale that connects all that has gone before.

Movie details

Three Lives and Only One Death

1996 Comedy · Crime · Fantasy 2h 3m

Critical arithmetic

The consensus, allegedly.

IMDb

6.8 / 10

1.6K votes

Rotten Tomatoes

70 %

Tomatometer

TMDB

6.5 / 10

Community rating

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

Four intertwining stories of bizarre occurrences in Paris featuring a man who was stolen away by fairies, a professor who becomes a tramp, the lovers who inherit a chateau – and the last tale that connects all that has gone before.

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 Three Lives and Only One Death?

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

Raúl Ruiz

Written by

Pascal Bonitzer · Raúl Ruiz

Marcello Mastroianni

Marcello Mastroianni

Mateo Strano / Georges Vickers / Butler / Luc Allamand

Anna Galiena

Anna Galiena

Maria Gabri - Colosso "Tania la Corse"

Marisa Paredes

Marisa Paredes

Maria

Chiara Mastroianni

Chiara Mastroianni

Cecile

Arielle Dombasle

Arielle Dombasle

Helene

Jean-Yves Gautier

Jean-Yves Gautier

Mario

Melvil Poupaud

Melvil Poupaud

Martin

Court is in session

Put Three Lives and Only One Death 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 Popcorn Loyalist

“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.