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The Crime is Mine

The Crime is Mine

Crime · Comedy · Mystery · 2023

In 1930s Paris, Madeleine, a pretty, young, penniless, and talentless actress, is accused of murdering a famous producer. Helped by her best friend, Pauline, a young, unemployed lawyer, she is acquitted on the grounds of self-defense. A new life of fame and success begins, until the truth comes out.

Movie details

The Crime is Mine

“Who benefits from the crime?”

2023 Crime · Comedy · Mystery 1h 43m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

In 1930s Paris, Madeleine, a pretty, young, penniless, and talentless actress, is accused of murdering a famous producer. Helped by her best friend, Pauline, a young, unemployed lawyer, she is acquitted on the grounds of self-defense. A new life of fame and success begins, until the truth comes out.

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 The Crime is Mine?

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.

Bazaar (Murder in the Building)

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Crime · 1974

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Crime · 1944

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Aurora Teagarden Mysteries: Reunited and It Feels So Deadly

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Names above the title

The people responsible.

Directed by

François Ozon

Written by

François Ozon

Nadia Tereszkiewicz

Nadia Tereszkiewicz

Madeleine Verdier

Rebecca Marder

Rebecca Marder

Pauline Mauléon

Isabelle Huppert

Isabelle Huppert

Odette Chaumette

Fabrice Luchini

Fabrice Luchini

Judge Rabusset

Dany Boon

Dany Boon

Palmarède

André Dussollier

André Dussollier

Mr. Bonnard

Édouard Sulpice

Édouard Sulpice

André Bonnard

Court is in session

Put The Crime is Mine on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.