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Other People's Children

Other People's Children

Drama · Comedy · 2022

Rachel loves her life, her students, her friends, her ex, her guitar lessons. When she falls in love with Ali, she grows close to his 4-year-old daughter, Leila. She tucks her in, looks after her, and loves her like a mother... which she isn’t. Not yet. Rachel is 40. The desire for a family of her own is growing stronger, and the clock is ticking. Is it too late?

Movie details

Other People's Children

2022 Drama · Comedy 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Rachel loves her life, her students, her friends, her ex, her guitar lessons. When she falls in love with Ali, she grows close to his 4-year-old daughter, Leila. She tucks her in, looks after her, and loves her like a mother... which she isn’t. Not yet. Rachel is 40. The desire for a family of her own is growing stronger, and the clock is ticking. Is it too late?

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 Other People's Children?

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

Rebecca Zlotowski

Written by

Rebecca Zlotowski

Virginie Efira

Virginie Efira

Rachel Friedmann

Roschdy Zem

Roschdy Zem

Ali Ben Attia

Chiara Mastroianni

Chiara Mastroianni

Alice

Callie Ferreira-Goncalves

Callie Ferreira-Goncalves

Leïla

Yamée Couture

Yamée Couture

Louana Friedmann

Henri-Noël Tabary

Henri-Noël Tabary

Vincent

Victor Lefebvre

Victor Lefebvre

Dylan Leklou

Court is in session

Put Other People's Children 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.