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Beloved

Beloved

Drama · Romance · Music · 2011

From Paris in the 1960s to London in the first decade of the third millennium, Madeleine and her daughter Véra flit from one amorous adventure to the next, living for the moment and taking all the opportunities that life offers. But not every love affair is without its consequences, its upsets and its disappointments. As time goes by and gnaws away at one’s deepest feelings, love becomes a harder game to play.

Movie details

Beloved

“Be hard be brave”

2011 Drama · Romance · Music 2h 19m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

From Paris in the 1960s to London in the first decade of the third millennium, Madeleine and her daughter Véra flit from one amorous adventure to the next, living for the moment and taking all the opportunities that life offers. But not every love affair is without its consequences, its upsets and its disappointments. As time goes by and gnaws away at one’s deepest feelings, love becomes a harder game to play.

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 Beloved?

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

Christophe Honoré

Written by

Christophe Honoré

Chiara Mastroianni

Chiara Mastroianni

Véra Passer

Catherine Deneuve

Catherine Deneuve

Madeleine

Ludivine Sagnier

Ludivine Sagnier

Madeleine jeune

Louis Garrel

Louis Garrel

Clément

Miloš Forman

Miloš Forman

Jaromil

Paul Schneider

Paul Schneider

Henderson

Radivoje Bukvić

Radivoje Bukvić

Jaromil Jeune

Court is in session

Put Beloved 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.