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Between Two Worlds

Between Two Worlds

Drama · 2022

Marianne Winckler relocates to the port city of Caen in order to pass herself off as a member of a large community of itinerant workers desperate to make ends meet. She gains employment as a cleaner on a ferry travelling between Ouistreham and Portsmouth, recording the drudgery of the work she and her colleagues are required to do.

Movie details

Between Two Worlds

2022 Drama 1h 47m

Critical arithmetic

The consensus, allegedly.

IMDb

6.9 / 10

2.5K votes

Rotten Tomatoes

79 %

Tomatometer

Metacritic

58 / 100

Metascore

TMDB

6.9 / 10

Community rating

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

Marianne Winckler relocates to the port city of Caen in order to pass herself off as a member of a large community of itinerant workers desperate to make ends meet. She gains employment as a cleaner on a ferry travelling between Ouistreham and Portsmouth, recording the drudgery of the work she and her colleagues are required to do.

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 Between Two Worlds?

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

Emmanuel Carrère

Written by

Hélène Devynck · Emmanuel Carrère

Juliette Binoche

Juliette Binoche

Marianne Winckler

H

Hélène Lambert

Chrystèle

L

Louise Pociecka

Louise

S

Steve Papagiannis

Steve

J

Jérémy Lechevallier

Eric

K

Kévin Maspimby

Kévin

F

Faïçal Zoua

Faïçal

Court is in session

Put Between Two Worlds 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.