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At Work

At Work

Drama · 2026

A successful photographer gives up everything to devote himself to writing and discovers poverty.

Movie details

At Work

2026 Drama 1h 32m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

A successful photographer gives up everything to devote himself to writing and discovers poverty.

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 At Work?

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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A young Montreal advertising executive, converted to a Provençal shepherd, has various misadventures with a civil servant who has cavalierly quit her job.

Haute Couture

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Esther is at the end of her career as Head Seamstress at Dior Avenue Montaigne workshop. One day, she gets her handbag stolen in the metro by a 20 years old girl, Jade. Instead of calling the police she decides to take care of Jade. She sees in her the opportunity to pass on her skills, the craft of dressmaking, her only wealth. In the frenetic world of Haute Couture, Esther will give Jade la beauté du geste, a way to reach beyond herself.

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What Maisie Knew

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Where it lives

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Names above the title

The people responsible.

Directed by

Valérie Donzelli

Written by

Valérie Donzelli · Gilles Marchand

Bastien Bouillon

Bastien Bouillon

Paul Marquet

Virginie Ledoyen

Virginie Ledoyen

Alice Bosquet, Gallimard Publisher

André Marcon

André Marcon

Paul's Father

Valérie Donzelli

Valérie Donzelli

Paul's Ex-wife

Marie Rivière

Marie Rivière

Paul's Mother

Adrien Barazzone

Adrien Barazzone

Pierre Lautrec

Marion Lecrivain

Marion Lecrivain

Paul's Sister

Court is in session

Put At Work 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.