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Evening

Evening

Drama · Romance · 2007

As Constance (Natasha Richardson) and Nina (Toni Collette) gather at the deathbed of their mother, Ann (Vanessa Redgrave), they learn for the first time that their mother lived an entire other lifetime during one evening 50 years ago. In vivid flashbacks, the young Ann (Claire Daines) spends one night with a man named Harris (Patrick Wilson), who was the love of her life.

Movie details

Evening

“Her greatest secret was her greatest gift.”

2007 Drama · Romance 1h 57m

Critical arithmetic

One number, for now.

TMDB

5.8 / 10

Community rating

As Constance (Natasha Richardson) and Nina (Toni Collette) gather at the deathbed of their mother, Ann (Vanessa Redgrave), they learn for the first time that their mother lived an entire other lifetime during one evening 50 years ago. In vivid flashbacks, the young Ann (Claire Daines) spends one night with a man named Harris (Patrick Wilson), who was the love of her life.

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 Evening?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

Watch in your region.

Cinema release signals and current streaming, rental, and purchase options for your region.

Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Lajos Koltai

Written by

Michael Cunningham · Susan Minot

Claire Danes

Claire Danes

Ann Grant

Toni Collette

Toni Collette

Nina Mars

Vanessa Redgrave

Vanessa Redgrave

Ann Lord

Patrick Wilson

Patrick Wilson

Harris Arden

Hugh Dancy

Hugh Dancy

Buddy Wittenborn

Natasha Richardson

Natasha Richardson

Constance Haverford

Mamie Gummer

Mamie Gummer

Lila Wittenborn

Court is in session

Put Evening on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

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

The prosecution The Cool Ironist

“The strings are showing.”

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