
Saturday, Sunday and Monday
1990

2003
Director
Catherine Corsini
Runtime
105 minutes
Average Rating
No ratings yetSynopsis
Renée is Laurence's grandmother and she intends to show her how to make rich men fall in love with her, in order to get their life insurance's money. Both women will meet several men in the course of the movie. Even the cynical Renée will fall deeply in love again. But even after getting married, Laurence and Renée don't seem to be able to love their husband for a long time. Will they manage to get rid of their rich, loving but irritating husbands? Will their husbands survive the experience? Or will true love triumph at the end?
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on heterosexual romantic pursuits. It lacks explicit LGBTQ+ identities or non-cisnormative gender expressions in its primary narrative arc.
Gender Representation
Renée and Laurence subvert traditional femininity by using marriage as a strategic tool for financial agency. The protagonists drive the plot by treating husbands as obstacles to be managed.
Racial & Ethnic Diversity
The narrative operates within a relatively homogeneous social framework. It focuses on class-based dynamics rather than significant racial blending or intersectional explorations.
Religious & Cultural Diversity
The film critiques the sanctity of the nuclear family and traditional romantic ideals. It presents marriage as a tool for financial extraction rather than a sacred bond.
Disability Representation
Disability does not serve as a central theme or character-driven element. The story remains strictly focused on the socioeconomic and romantic maneuvers of the leads.
Strengths
Areas for Improvement
AI Analysis
The film excels at subverting gendered expectations, transforming the trope of the 'loving wife' into a calculated maneuver for financial independence. By positioning women as the primary drivers of the plot, it challenges traditional domestic stability. However, the narrative lacks breadth in other areas. The focus on class and heterosexual romance leaves little room for LGBTQ+ representation or racial diversity, resulting in a relatively homogeneous social landscape. Ultimately, the work is a sophisticated critique of Western institutions. It prioritizes moral complexity and strategic agency over sentimentalism, even if it remains narrow in its demographic scope.

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