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Love in the Time of Cholera

Love in the Time of Cholera

Drama · Romance · 2007

In Colombia just after the Great War, an old man falls from a ladder; dying, he professes great love for his wife. After the funeral, a man calls on the widow - she dismisses him angrily. Flash back more than 50 years to the day Florentino Ariza, a telegraph boy, falls in love with Fermina Daza, the daughter of a mule trader.

Movie details

Love in the Time of Cholera

“How long would you wait for love?”

2007 Drama · Romance 2h 19m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

In Colombia just after the Great War, an old man falls from a ladder; dying, he professes great love for his wife. After the funeral, a man calls on the widow - she dismisses him angrily. Flash back more than 50 years to the day Florentino Ariza, a telegraph boy, falls in love with Fermina Daza, the daughter of a mule trader.

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 Love in the Time of Cholera?

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

Mike Newell

Written by

Ronald Harwood

Javier Bardem

Javier Bardem

Florentino Ariza

Giovanna Mezzogiorno

Giovanna Mezzogiorno

Fermina Daza

Benjamin Bratt

Benjamin Bratt

Juvenal Urbino

John Leguizamo

John Leguizamo

Lorenzo Daza

Fernanda Montenegro

Fernanda Montenegro

Transito Ariza

Catalina Sandino Moreno

Catalina Sandino Moreno

Hildebranda Sanchez

Alicia Borrachero

Alicia Borrachero

Escolastica

Court is in session

Put Love in the Time of Cholera 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.