Viewer Rating
Combines user and critic ratings from four sources
François, perpetual rebel against society and its laws, is released after a long imprisonment, and meets up with his family and friends in Lyon. His new love for Maria, a young woman adrift, prompts him to get quick money. François will commit acts of violence that will definitely lose him.
François, perpetual rebel against society and its laws, is released after a long imprisonment, and meets up with his family and friends in Lyon. His new love for Maria, a young woman adrift, prompts him to get quick money. François will commit acts of violence that will definitely lose him.
The film explores an individual's struggle to escape his criminal past and reintegrate into society, focusing on personal and existential themes rather than advocating for specific political ideologies or solutions. Its narrative remains apolitical, observing human nature and the weight of past choices.
The film features traditional casting, consistent with the typical demographic representation in French cinema of its era. Its narrative does not appear to explicitly critique traditional identities or center on DEI themes.
The film explores themes of guilt, redemption, and the search for meaning through characters grappling with their Catholic faith. While individual characters may struggle or fall short, the narrative treats the spiritual quest and the underlying tenets of faith with depth and respect, positioning the audience to understand the profound human need for belief.
The film 'Until the End of the Night' by Gérard Blain does not feature any identifiable LGBTQ+ characters or themes. Its narrative centers on a heterosexual couple and their struggles with the protagonist's past and reintegration into society, leading to a determination of N/A for LGBTQ+ portrayal.
The movie does not contain any action or adventure elements.
This film is an original drama and does not appear to be an adaptation of existing source material with established characters, nor a reboot of a prior work. Therefore, it does not feature any characters whose gender was changed from a canonical or historical baseline.
This 1995 French drama film does not appear to be an adaptation of a work with canonically established character races, nor does it depict historical figures. There is no evidence of characters being portrayed by a different race than originally established.
Combines user and critic ratings from four sources