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Faces

Faces

Drama · 1968

Middle-aged suburban husband Richard abruptly tells his wife, Maria, that he wants a divorce. As Richard takes up with a younger woman, Maria enjoys a night on the town with her friends and meets a younger man. As the couple and those around them confront a seemingly futile search for what they've lost -- love, excitement, passion -- this classic American independent film explores themes of aging and alienation.

Movie details

Faces

“The acclaimed motion picture”

1968 Drama 2h 10m

Critical arithmetic

The consensus, allegedly.

IMDb

7.4 / 10

12K votes

Rotten Tomatoes

85 %

Tomatometer

Metacritic

88 / 100

Metascore

TMDB

7.1 / 10

Community rating

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

Middle-aged suburban husband Richard abruptly tells his wife, Maria, that he wants a divorce. As Richard takes up with a younger woman, Maria enjoys a night on the town with her friends and meets a younger man. As the couple and those around them confront a seemingly futile search for what they've lost -- love, excitement, passion -- this classic American independent film explores themes of aging and alienation.

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 Faces?

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

John Cassavetes

Written by

John Cassavetes

John Marley

John Marley

Richard Forst

Gena Rowlands

Gena Rowlands

Jeannie Rapp

Lynn Carlin

Lynn Carlin

Maria Forst

Fred Draper

Fred Draper

Freddie Draper

Seymour Cassel

Seymour Cassel

Chet

Val Avery

Val Avery

Jim McCarthy

Dorothy Gulliver

Dorothy Gulliver

Florence

Court is in session

Put Faces on trial.

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

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.