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What the Day Owes the Night

What the Day Owes the Night

Drama · Romance · 2012

Algeria, the 1930s. Younes is nine years old when he is put in his uncle's care in Oran. Rebaptized Jonas, he grows up among the Rio Salado youths, with whom he becomes friends. Emilie is one of the gang; everyone is in love with her. A great love story develops between Jonas and Emilie, which is soon unsettled by the conflicts troubling the country.

Movie details

What the Day Owes the Night

2012 Drama · Romance 2h 42m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

Algeria, the 1930s. Younes is nine years old when he is put in his uncle's care in Oran. Rebaptized Jonas, he grows up among the Rio Salado youths, with whom he becomes friends. Emilie is one of the gang; everyone is in love with her. A great love story develops between Jonas and Emilie, which is soon unsettled by the conflicts troubling the country.

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 What the Day Owes the Night?

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

Alexandre Arcady

Written by

Daniel Saint-Hamont · Blandine Stintzy · Alexandre Arcady

Nora Arnezeder

Nora Arnezeder

Émilie

Fu'ad Aït Aattou

Fu'ad Aït Aattou

Younès / Jonas

Anne Parillaud

Anne Parillaud

Madame Cazenave

Vincent Perez

Vincent Perez

Juan Rucillio

Anne Consigny

Anne Consigny

Madeleine

Mohamed Fellag

Mohamed Fellag

Mohamed

Nicolas Giraud

Nicolas Giraud

Fabrice

Court is in session

Put What the Day Owes the Night 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.