
Thirteen at Dinner
1985

1961
Director
Robert Hossein
Runtime
80 minutes
Average Rating
No ratings yetSynopsis
A dozen elegant people are gathered in a writer's desirable mansion. In the grand tradition of Agatha Christie, they all have something to hide.They begin a cruel game of truth, a game where you're not supposed to tell lies. As the questions become more and more intimate and precise, the tempers rise, while outside the storm is raging. Enter a hateful person (played by Paul Meurisse, the nasty headmaster in "Les Diaboliques") who seems to know a lot about them. Someone is murdered. Whodunit?
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film explores intimate and precise personal secrets through a psychological game. While this suggests a potential subversion of heteronormative social masks, there is no explicit confirmation of queer identities.
Gender Representation
The narrative focuses on the tension between guests and their private realities. It likely challenges the era's expected decorum, though it lacks clear evidence of subverting gender hierarchies.
Racial & Ethnic Diversity
The setting features a homogeneous group of elegant people in a French mansion. This suggests a Eurocentric social circle with little evidence of racial or ethnic blending.
Religious & Cultural Diversity
The story critiques the stability of high-society institutions through a lens of moral relativism. It rejects cohesive morality in favor of exposing individual hypocrisy and situational ethics.
Disability Representation
There is no information regarding the inclusion or portrayal of characters with physical or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
The film functions as a closed-room psychological study designed to dismantle the curated personas of the upper class. It prioritizes the deconstruction of social facades and interpersonal hierarchies over demographic variety. While the narrative offers progressive thematic skepticism toward established social structures, it remains anchored in the conventional casting and social frameworks of 1961. The focus is on moral ambiguity rather than representative casting. Ultimately, the work serves as a critique of high-society corruption rather than a vehicle for diverse representation.

1985

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