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Cat People

Cat People

Fantasy · Horror · 1982

After years of separation, Irena Gallier and her minister brother, Paul, reunite in New Orleans. When zoologists capture a wild panther, Irena is drawn to the cat – and zoo curator Oliver to her. Soon, Paul will have to reveal the family secret: that when sexually aroused, they revert into predatory jungle cats.

Movie details

Cat People

“They are something more than lovers who are about to become something less than human.”

1982 Fantasy · Horror 1h 58m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

After years of separation, Irena Gallier and her minister brother, Paul, reunite in New Orleans. When zoologists capture a wild panther, Irena is drawn to the cat – and zoo curator Oliver to her. Soon, Paul will have to reveal the family secret: that when sexually aroused, they revert into predatory jungle cats.

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 Cat People?

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

Paul Schrader

Written by

Alan Ormsby · Paul Schrader · DeWitt Bodeen

Nastassja Kinski

Nastassja Kinski

Irena Gallier

Malcolm McDowell

Malcolm McDowell

Paul Gallier

John Heard

John Heard

Oliver Yates

Annette O'Toole

Annette O'Toole

Alice Perrin

Ruby Dee

Ruby Dee

Female

Ed Begley Jr.

Ed Begley Jr.

Joe Creigh

Scott Paulin

Scott Paulin

Bill Searle

Court is in session

Put Cat People 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 Prestige Tourist

“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.