Irène's birthday takes a sour turn when she finds her partner drunk and unresponsive in their hotel room, sparking a series of events that shake their relationship. Other loglines ›
How to read these: in industry coverage, Pass is the default outcome for the majority of professional scripts, and Consider means the reader stayed in the room. Industry-wide, the median professional evaluation sits at a 6 — scores of 8+ are rare everywhere, on purpose.
A qualified recommendation anchored by a distinctive comic voice and strong central chemistry, and held back by a repetitive middle act and an externally driven climax that needs structural tightening before it can be championed.
An elevated romantic comedy that uses wealth-performance satire and a mismatched pair to generate wit and a quietly wistful reckoning with class and self-invention.
One reader positioned the script as specialty drama, while four read it as elevated commercial. The split traces to tonal register in the back half, where the specialty read sees deliberate restraint and the commercial reads see a conventional rom-com structure that needs tightening.
The opening register, consistent comic voice, and strong central chemistry provide a craft floor that prevents the script from falling into Pass territory.
The middle-act repetition and the externally driven climax keep the causal pressure below what a stronger recommendation would require.
A script with a distinctive central dynamic and strong visual comedy that needs structural work on midsection pressure, protagonist agency, and the third-act reveal.
Readers read as Elevated commercial4 Specialty1
Re-engineer the middle-act sequence chain so each transaction or deception carries a distinct, rising cost that forces Jean and Irène to make active choices, which simultaneously clarifies their interiority and sets up an earned third-act resolution.
Tightening the middle act or clarifying character agency risks cutting the leisurely, observational beats where these objects carry emotional weight.
Keep the coin, umbrellas, and luxury details doing double work as emotional shorthand rather than trimming them to serve plot mechanics.
Clarifying Jean's agency or Irène's desire could flatten the script's signature blend of flirtation, deception, and indirect communication.
When rewriting the middle and climax, preserve the moments where the leads communicate through objects and behavior rather than explicit dialogue.
The reader loses forward pull as the hotel escapades cycle through the same pattern of luxury and deception without accumulating new pressure or changing the relationship.
The script uses repetition to establish a lifestyle but omits a rising cost or ticking clock that would force the characters into new choices.
Compress or differentiate the middle sequences so each encounter alters the financial or emotional stakes, giving the act a visible ratchet.
The reader struggles to invest in Jean's emotional journey because his choices appear reactive or coached rather than generated from a clear internal want.
Jean's passivity is treated as a character trait without a countervailing moment of self-awareness or an uncoached boundary that demonstrates genuine growth.
Insert a mid-act beat where Jean makes a decisive choice independent of Irène's coaching, clarifying his personal boundary before the final act.
The reader experiences the ending as convenient rather than inevitable because the romantic payoff arrives through plot timing instead of a demonstrated character shift.
The script achieves the final reunion through external events rather than a culminating action that proves the leads have changed.
Move Irène's moment of recognition earlier or give Jean a final active choice in the climax so the reunion feels like the consequence of a prior decision.
Committing to a clear romantic resolution means giving Irène and Jean an active, unambiguous choice that closes the thematic question of transactional love.
Committing to a provisional ending means preserving the characters' self-protective ambiguity and letting the final escape signal a willingness to try rather than a settled choice.
Standardize slug line separators, fix recurring spelling and accent inconsistencies, and run a final proofread to catch malformed phrases.
Strip the heavy reliance on ellipses and expository aphorisms, and remove stage directions that dictate micro-gestures or internal states already clear in the subtext.
The script's distinctive blend of visual class comedy and romantic intimacy built through shared performance gives it a clear identity that readers can credibly champion.
The middle act's repetitive transaction pattern prevents the film from building the narrative pressure required to make the ending feel earned.
On the score: The score sits at the high edge of its band — a focused revision could push it to the next verdict.
Setting: Not specified, Not specified
Themes: Betrayal and Infidelity, Emotional Disappointment and Loneliness, Self-Discovery and Independence, Guilt and Consequences, Relationship Dynamics and Change, Finding Joy and Redemption
Conflict & Stakes: Not provided in the given text
Mood: Not provided in the given text
Comparable Scripts: Lost in Translation, Two for the Road, Eternal Sunshine of the Spotless Mind, Blue Valentine, In the Mood for Love, The Great Gatsby, Before Sunrise, Closer, Revolutionary Road, The Apartment
This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.
Breaks down your script along various categories.
Breaks down the emotional journey of the audience across the script.
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.
Your whole script read on three things — Design (is it built), Execution (does it play on the page), and Involvement (does it draw you in) — then mapped scene by scene. The rows go Script → Acts → Sequences → Scenes in story order, left to right; a unit’s width is its length in pages.
Colour depends on the mode. By default you’re on Triage — a recommendation for each part: Keep (green), Polish, Rework, or Two groups low (red). Switch Colour by (top) to a group (Design / Execution / Involvement) or one of the twelve axes and the colour becomes that signal’s score instead — red (needs work) through green (strong), with grey where a part isn’t owed that signal. Either way it’s a map of where to look.
To explore: click any cell for its detailed read — what’s working, what’s dragging, and your options — and 💬 Ask about it right there. To see an act’s scenes larger, hover the act and click Zoom in (the magnifier); Zoom out in the same spot, or Esc, goes back. While zoomed, the other acts stay as narrow strips you can click, and ← → move between them. Use Colour by (top) to recolour by a single craft signal, or the Findings / Axes / Patterns tabs to read it different ways.
High-level overview
The movie revolves around the character of Irène, who on her birthday, discovers her partner Jacques drunk and unresponsive in their hotel room. Despite her attempts to help him, he dismisses her concerns, leaving her feeling disappointed and alone. In another scene, Jean, a hotel employee, is exhausted from his various duties and agrees to do the closing shift at the hotel bar.
As the story progresses, Irène confronts Jean in their hotel room with another woman, which ultimately leads to her decision to leave. She goes to a train station to change and store her luggage in a locker. Jean and Madeleine, a friend of Jean's, go shopping together. Irène's discovery of Jean with another woman and the subsequent confrontation becomes a turning point in the storyline. Irène's ultimate decision to leave affects not only her relationship but also the dynamics between Jean and Madeleine.
Scene by Scene Summaries
Act-by-act sequence summaries
Irène shops for a birthday outfit, but Jacques arrives drunk and forgets the reservation, leaving her dejected and drinking miniatures alone. The scene also introduces Jean's work as a bartender, setting up the contrast between Irène's disappointment and the bar environment.
Irène, drunk and frustrated, goes to the bar where Jean, the exhausted bartender, wakes up. They bond over cocktails and conversation, share a passionate kiss in the elevator, and go to his suite where they have sex. The next morning, Jean wakes alone, finding she has checked out, and he is left with melancholy.
Jean, working as a waiter, freezes when Irène arrives with Jacques. He leaves, but later at night they meet again. Irène tests Jean's sincerity, and he proves he remembered their encounter. She discovers a handkerchief with her scent in his jacket, realizes he told the truth, and decides to leave Jacques. Jacques confronts her, takes back the ring, and she goes to Jean's door but hesitates.
Jean panics when Irène knocks and tries to hide their presence, but she enters and reveals she left Jacques and wants to be with him. They plan to go to the Maldives and have breakfast, but a hotel employee exposes that Jean is not a guest but using the room illicitly. Irène, disillusioned, leaves without a word. She ends up alone at the train station, storing her luggage, having abandoned her old life but losing her new hope.
Irène counts her money, calls potential patrons but fails. She goes to a bar where Jean apologizes. Her date François arrives but is distracted, so she switches to Jean, who takes her to a lavish restaurant. She orders extravagantly, and Jean agrees to book a suite after dinner, achieving her goal.
Irène spends the night with Jean, then demands a new handbag. They shop, have champagne, but Jean's card is confiscated. Irène buys cakes and gives Jean a train ticket, dismissing him. Jean is left broke and seeks work.
Jean is refused a hotel job but is rescued by Mme Contini, with whom he has a fling. He witnesses Irène stealing from another man. The next morning, Irène confronts him. Later, in a store, Jean is being dressed when he encounters Irène. She gives him a euro coin for ten seconds, echoing their earlier moment. Gilles's arrival ends the sequence.
Jean observes Irène and Gilles, then receives a new shirt from Gilles. In the next scene, Madeleine gives him dumbbells. He also gets advice from Irène about taking advantage of the situation. The sequence ends with Jean feeling anxious and receiving mixed signals.
Irène teaches Jean about charm and seduction, demonstrating a look and leaving sentences unfinished. They almost kiss but Jean's watch alarm interrupts, causing Irène to smash his watch. Jean leaves, then later faces a humiliating doctor visit with Madeleine and receives a new watch as compensation.
Jean buys a luxury watch and flaunts it to Irène, who breaks her own watch in response. He then uses a phone prank on Gilles to assert control. Madeleine confronts him, he throws the watch down and leaves, then rides a new scooter triumphantly. Irène sees him with Madeleine and becomes sad.
Irène sneaks out of her suite after Gilles falls asleep, meets Jean, and they ride to a secluded cove for a candlelit picnic. They fall asleep together. At dawn, she returns and finds Gilles has prepared an elaborate breakfast. Later, Gilles announces a trip to Venice; Irène pretends to be delighted, then reveals a watch gift from Gilles, causing her to feel conflicted.
Irène confesses to Jean that she's leaving for Venice and they share a tender kiss, but Madeleine interrupts. Later, Irène learns Gilles left her. She asks Jean to retrieve her belongings. Jean sells his watch to buy Madeleine a necklace, pretending it's a gift. Irène gets a new room and dress, feeling sad. The act ends with Madeleine wearing the necklace and Jean in evening wear.
At a villa party, Jean anxiously searches for Irène while trying to engage with Madeleine. Irène, wearing Jean's dress, flirts with other men but is unsettled by seeing Jacques. Jean spots Irène and arranges to get her a drink, leading to a dance where Irène asks for his help to seduce Jacques again. Jean agrees, hurt but compliant, and receives her room key.
At a pool party, Irène introduces Agnès to Jean to distract him. Jean instead flirts with Agnès, angering Madeleine. In scene 27, Jean apologizes to Madeleine but insists on helping Agnès, leading to Madeleine leaving him. Jean leaves with Agnès, claiming she is his ex-mother-in-law. Meanwhile, Irène successfully approaches Jacques alone, plying him with champagne, and they end up in his hotel suite.
From Jacques' balcony, Irène sees Jean and Agnès laughing and toasting, which distracts and unsettles her. Jacques notices and becomes annoyed; Irène abruptly leaves and runs to Jean's room. She interrupts Jean and Agnès, claiming Jean has no money, causing Agnès to flee. Jean and Irène kiss passionately and end up on the floor, comically embracing. Later, they drive away together on a scooter at dawn.
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Analysis: The screenplay's character development is one of its major strengths, particularly in the unorthodox romantic arc that turns the 'kept man' trope on its head. Jean evolves from a passive, overworked hotel employee into someone who learns to navigate—and ultimately reject—transactional relationships, while Irène's journey from pragmatic gold digger to a woman willing to choose love over security gives the story its emotional engine. The film is also served well by Madeleine, a supporting character whose dignified heartbreak adds real poignancy. The main weaknesses are the thin development of secondary figures like Jacques and the occasionally rushed emotional pivots in Irène's journey, which can make her transformation feel more plot-driven than psychologically inevitable.
Analysis: The screenplay establishes a clever role-reversal romance in which a penniless hotel barman is mistaken for a millionaire by a professional gold-digger, Irène. When the illusion fails, the two become covert lovers and co-conspirators, with Irène grooming Jean to be a kept man for wealthy older women while their genuine feelings complicate every transaction. The premise is stylishly original and generates powerful sustained irony, though the setup is indirect and the mid-film shift from deception farce to con-game romance could be clarified for a stronger initial hook.
Analysis: Hors de prix is a stylish, engaging French romantic comedy with a clever role-reversal premise: a poor hotel worker becomes a kept man while the woman he loves is a gold digger who must learn that love is worth more than money. Its structure is clear and well-paced for most of the runtime, anchored by strong visual motifs, witty set pieces, and a satisfying third-act reunion. The main weaknesses are a somewhat episodic middle section, a few underdeveloped supporting characters, and an ending that could more fully dramatize Irène's emotional about-face. Overall, the screenplay has an effective, audience-pleasing architecture that fits the genre, with a fresh twist on a familiar formula.
Analysis: Hors de prix develops a consistently satirical and romantic critique of transactional love, using money, objects, and disguises to ask what is truly 'priceless.' Its central motifs—the one-euro coin, the luxury watch, the cocktail umbrellas, the priced-by-square-centimeter handbag—give the theme emotional clarity, and Jean and Irène's arc lands as a genuine critique of materialism. The screenplay's exploration is engaging but light; supporting characters like Madeleine and Jacques are used more as plot functions than thematic counterpoints, so the message can feel conventional or tidy rather than deeply earned.
Analysis: The screenplay opens with striking, near-silent visual comedy—a man dragged by purebred dogs, a gleaming credit card, luxury goods—that economically establishes both the materialistic world and Jean's servant role. It builds a strong visual vocabulary through recurring motifs: cocktail umbrellas, the one-euro coin, watches, and dresses. The most cinematic moments are wordless or object-driven, especially the candlelit beach picnic, the dawn alarm, and the scooter getaway. While the later dialogue scenes lose some visual texture, the screenplay remains an elegant, playful, and often inventive piece of visual storytelling.
Analysis: The screenplay is a charming and emotionally resonant romantic comedy that uses a compelling opposites-attract dynamic, bittersweet reversals of fortune, and a strong central chemistry between its leads. Its greatest emotional strengths are the quiet, restrained beats of longing—the one-euro coin, the cocktail umbrella, the train ticket—and the authentic transformation of both protagonists. Emotional depth is occasionally diluted by farcical pacing and underdeveloped supporting arcs, but the journey from deception to mutual vulnerability leaves a warm, lingering impact.
Analysis: The screenplay has a charming, high-concept central conflict—love versus materialism—and uses ironic reversals and appealing leads to keep the audience engaged. However, the middle section's stakes plateau because tensions are frequently reset, and the final reconciliation is more emotionally poetic than dramatically earned. The grade reflects strong premise and execution, with clear opportunities to deepen the cost of the characters' choices.
Analysis: Hors de prix is a clever, visually inventive romantic comedy that flips the classic kept-woman narrative by making its male lead the kept partner. Its strongest creative assets are the recurring transactional motifs (cocktail umbrellas, the one-euro coin, luxury watches), the witty role-playing sequences, and a gender-reversed Pygmalion dynamic. While the premise is not entirely new, the execution is stylish and the ending reframes the romance as a shared con, giving the story a fresh, playful edge.
Expand to see detailed analysis
View Complete AnalysisProtagonist
Protagonist
| Theme | Theme Details | Theme Explanation |
|---|---|---|
|
Betrayal and Infidelity
|
Irène discovers Jean with another woman in their hotel room, leading to confrontations, disappointment, and her decision to leave.
|
The theme of betrayal and infidelity is a significant theme in the screenplay. It drives the conflict and ultimately leads to the end of Irène and Jean's relationship. |
|
Emotional Disappointment and Loneliness
|
Irène confronts Jacques about his heavy drinking and is disappointed when he dismisses her concerns. She is also left feeling alone after Jacques falls into a coma and when she discovers Jean with another woman.
|
The theme of emotional disappointment and loneliness is prevalent throughout the screenplay. Through various scenes, characters experience the pain of unmet expectations, abandonment, and deceit, highlighting the complex emotions they navigate. |
|
Self-Discovery and Independence
|
Irène decides to leave Jean and embark on her own journey after discovering his betrayal. She also sets out on a scooter with Jean in the final scene, symbolizing a new chapter of self-discovery and independence.
|
The theme of self-discovery and independence is showcased as Irène makes the brave decision to leave a relationship that no longer serves her. This theme emphasizes personal growth and the pursuit of individuality. |
|
Guilt and Consequences
|
Jean feels guilty about his infidelity and faces the consequences of his actions when Irène discovers him with another woman. Irène also steals money from her companion's wallet, showing the consequences of her own actions.
|
The theme of guilt and consequences explores the moral repercussions that characters face as a result of their choices. Jean and Irène both experience guilt and face the consequences of their actions, highlighting the weight of their decisions. |
|
Relationship Dynamics and Change
|
The screenplay portrays the dynamics and changes within relationships, such as the deterioration of Irène and Jacques' relationship due to his drinking, the betrayal and end of Irène and Jean's relationship, and the shifting dynamics between Jean and Madeleine.
|
The theme of relationship dynamics and change explores the complexities and evolution of relationships. It highlights how relationships can be tested, broken, and transformed, showcasing the impact of individuals' actions on their interpersonal connections. |
|
Finding Joy and Redemption
|
Amidst the turmoil and disappointment, some characters find moments of joy and redemption, such as Irene accepting Jean's cocktail to cheer her up and Jean attempting to reconcile and explain himself to Irène.
|
The theme of finding joy and redemption amidst adversity showcases the resilience of characters in finding moments of happiness and working towards redemption. It provides hopeful and uplifting elements in the midst of challenging situations. |
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Everything above was written for you before you arrived. These are the things you can set running yourself, on the whole script or on one scene at a time.
No lens is broken, but Design and Involvement are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
A montage compresses time. It isn’t built to turn on a single thread.
No lens is broken, but Design and Involvement are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingWhat happens here obliges what comes next.
All three lenses are solid — worth protecting as it stands.
It commits to one clear thing and holds it Contract
HoldingIt turns — something is different by the end.
No lens is broken, but Design and Involvement are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
No lens is broken, but Execution and Involvement are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingWhat happens here obliges what comes next.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
No lens is broken, but Involvement is soft — this reads as a polish pass.
The result doesn’t oblige what comes next Consequence
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
Every beat and line earns its place Economy
HoldingThe situation deepens as it goes.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
No lens is broken, but Design, Execution and Involvement are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
What happens here obliges what comes next Consequence
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe feeling comes off the page.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
Every beat and line earns its place Economy
HoldingIt commits to one clear thing and holds it.
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
“Functional” (5–6) is a solid, professional scene — that's where most scenes sit. The scale rides low on purpose, so it has room to point down (where to fix) and up (what's working).
Scenes now use the full 0–10 scale, so your numbers will look lower and more spread out than before. That's the new, smarter model being honest — not a verdict on your script.
The table below uses the same colors: warm = worth a look · neutral = fine · green = working. The point is awareness, not maxing every number — a scene can be light on plot or conflict for good reasons.
| Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Triage | Design | Overall | Clarity | Scene Impact | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - HORS DE PRIX | PolishMontageNo lens is broken, but Design and Involvement are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 7 | 4 | 3 | 5 | 6 | 5 | 4 | 5 | 7 | 3 | 7 | 6 | 7 | 8 | 6 | |
| 2 - The Revelation | PolishRelationship shiftNo lens is broken, but Design and Involvement are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 7 | 5 | 5 | 6 | 6 | 5 | 5 | 6 | 6 | 6 | 7 | 6 | 6 | 8 | 6 | |
| 3 - Irène's Disappointment | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 6 | 7 | 7 | 6 | 6 | 6 | 5 | 5 | 7 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 4 - Irène's Disappointment | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 6 | 7 | 7 | 6 | 5 | 7 | 6 | 5 | 4 | 7 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 5 - Lost Love | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 6 | 7 | 8 | 7 | 6 | 5 | 6 | 5 | 6 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 7 | |
| 6 - Disappointment and Betrayal | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 9 / 8 | 8 / 8 | 7 | 7 | 7 | 8 | 7 | 6 | 7 | 7 | 6 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 8 | |
| 7 - Betrayal and Rejection | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 6 | 7 | 7 | 6 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | |
| 8 - Disappointment and Confrontation | PolishPursuitNo lens is broken, but Design and Involvement are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 8 | 8 | 7 | 6 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | |
| 9 - Disappointment and Miscommunication | PolishPursuitNo lens is broken, but Execution and Involvement are soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 7 | 6 | 7 | 6 | 6 | 8 | 6 | 5 | 5 | 8 | 6 | 5 | 7 | 6 | 6 | 8 | 7 | |
| 10 - Confrontation and Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 7 | 6 | 7 | 6 | 5 | 8 | 6 | 5 | 6 | 8 | 5 | 5 | 7 | 6 | 6 | 8 | 7 | |
| 11 - Confrontation and Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6 | 8 / 7 | 6 / 7 | 7 | 6 | 7 | 7 | 6 | 5 | 7 | 6 | 5 | 6 | 7 | 5 | 6 | 7 | 6 | 6 | 8 | 7 | |
| 12 - Irène's Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 7 | 6 | 6 | 5 | 6 | 5 | 6 | 7 | 7 | 7 | 8 | 7 | 7 | 6 | 7 | |
| 13 - Confrontation and Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 7 | 7 | 6 | 5 | 7 | 7 | 6 | 7 | 8 | 8 | 6 | 7 | 8 | 7 | 8 | 8 | |
| 14 - Confrontation and Shopping | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 7 | 7 | 6 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 6 | 6 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 15 - Confrontation and Revelations | PolishRelationship shiftNo lens is broken, but Involvement is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 6 | 7 | 8 | 7 | 6 | 7 | 6 | 5 | 5 | 6 | 6 | 6 | 7 | 7 | 7 | 8 | 7 | |
| 16 - Confrontation and Decision | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 8 | 6 | 7 | 5 | 5 | 4 | 5 | 6 | 6 | 6 | 7 | 6 | 6 | 8 | 6 | |
| 17 - Irène's Revelation | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.5 | 8 / 8 | 8 / 8 | 8 | 7 | 8 | 8 | 8 | 8 | 6 | 7 | 7 | 6 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 8 | |
| 18 - Confrontation and Uncertainty | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 7 | 7 | 6 | 5 | 6 | 5 | 5 | 6 | 7 | 6 | 7 | 7 | 6 | 8 | 7 | |
| 19 - Confrontation and Revelation | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 9 / 8 | 8 / 8 | 8 | 7 | 7 | 8 | 7 | 6 | 8 | 7 | 7 | 6 | 8 | 8 | 6 | 8 | 8 | 8 | 9 | 8 | |
| 20 - Irène's Discovery | PolishRelationship shiftNo lens is broken, but Design, Execution and Involvement are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 7 | 6 | 5 | 7 | 7 | 7 | 6 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 7 | |
| 21 - Confrontation and Reflection | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 7 | 7 | 6 | 5 | 6 | 5 | 6 | 6 | 5 | 7 | 7 | 6 | 6 | 8 | 7 | |
| 22 - Betrayal and Redemption | KeepContestAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 9 / 8 | 8 / 7 | 7 | 7 | 7 | 8 | 7 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | |
| 23 - Confrontation and Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 6 | 7 | 7 | 6 | 7 | 7 | 6 | 8 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | |
| 24 - Betrayal and Redemption | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 7 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 7 | 8 | 6 | 7 | 7 | 7 | 7 | 8 | 7 | |
| 25 - Confrontation and Decision | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 8 | 7 | 7 | 6 | 8 | 7 | 6 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | |
| 26 - Confrontation and Betrayal | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8 / 8 | 8 / 7 | 7 | 6 | 7 | 7 | 6 | 5 | 7 | 7 | 7 | 6 | 7 | 8 | 5 | 8 | 7 | 7 | 6 | 7 | |
| 27 - Confrontation and Departure | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 7 | 6 | 7 | 7 | 6 | 8 | 7 | 7 | 6 | 8 | 6 | 7 | 8 | 7 | 7 | 8 | 7 | |
| 28 - Irène's Discovery | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 7 | 8 | |
| Pattern | Explanation |
|---|---|
| Correlation between Emotional Impact and Overall Grade | There is a strong positive correlation between the Emotional Impact score and the Overall Grade score (0.88). This suggests that scenes with higher emotional impact tend to receive higher overall grades. |
| Correlation between Conflict and Dialogue | There is a moderate positive correlation between the Conflict score and the Dialogue score (0.59). This indicates that scenes with higher levels of conflict also tend to have more engaging and impactful dialogue. |
| Correlation between High Stakes and Emotional Impact | There is a moderate positive correlation between the High Stakes score and the Emotional Impact score (0.61). This suggests that scenes with higher stakes tend to evoke stronger emotional reactions. |
| Correlation between Character Changes and Move Story Forward | There is a strong positive correlation between the Character Changes score and the Move Story Forward score (0.87). This implies that scenes in which character changes occur also tend to play a significant role in advancing the story. |
| Correlation between Tone and Emotional Impact | There is a moderate positive correlation between the Tone score and the Emotional Impact score (0.55). This indicates that scenes with specific tones, such as emotional or tense, often generate a stronger emotional response. |
| Correlation between Concept and Plot | There is a high positive correlation between the Concept score and the Plot score (0.81). This suggests that scenes with well-developed concepts also tend to have a strong and cohesive plot. |
| Correlation between Characters and Dialogue | There is a high positive correlation between the Characters score and the Dialogue score (0.79). This implies that scenes with well-developed characters often feature impactful and engaging dialogue. |
| Correlation between Overall Grade and Move Story Forward | There is a strong positive correlation between the Overall Grade score and the Move Story Forward score (0.82). This indicates that scenes that effectively move the story forward tend to receive higher overall grades. |
| Correlation between Emotional Impact and Character Changes | There is a strong positive correlation between the Emotional Impact score and the Character Changes score (0.84). This suggests that scenes with a significant emotional impact often coincide with significant character changes. |
| Correlation between Emotional Impact and Dialogue | There is a strong positive correlation between the Emotional Impact score and the Dialogue score (0.83). This indicates that scenes with a strong emotional impact often feature impactful and meaningful dialogue. |
| Trope | Trope Details | Trope Explanation |
|---|
| Array ( [0] => Irène's birthday takes a sour turn when she finds her partner drunk and unresponsive in their hotel room, sparking a series of events that shake their relationship. [1] => Exhausted hotel employee Jean agrees to cover the closing shift at the bar, setting off a chain of events that will have unexpected consequences for both him and Irène. [2] => A confrontation between Irène and another woman leads to a life-altering decision for Irène, forcing her to confront the truth about her failing relationship. [3] => As Irène decides to leave, the dynamics between Jean and Madeleine, his friend, take an unexpected turn, leading to unforeseen turmoil. [4] => A pivotal moment occurs when Irène discovers Jean with another woman, changing the course of their relationship and leaving Irène feeling betrayed and alone. ) |
| A cunning young woman uses her charm to seduce wealthy men, but her materialistic lifestyle is challenged when she falls for a charming hotel employee who pretends to be a millionaire. |
| In the glamorous world of luxury hotels and high-society events, a woman and a man engage in a game of deception and seduction, leading to unexpected consequences and a reevaluation of their values. |
| A romantic comedy with a twist, exploring the themes of love, materialism, and the price of happiness in a world obsessed with wealth and status. |
| A young hotel employee finds himself unexpectedly entangled in a high-stakes game of seduction and survival when he becomes infatuated with a beautiful guest, leading him to make some questionable choices that put everything he's worked for at risk. |
| When a down-on-his-luck hotel worker is taken under the wing of a wealthy widow, he must navigate the complexities of class, power, and his own desires as he is drawn into a world of luxury and manipulation. |
| A chance encounter between a jaded hotel employee and a beautiful, enigmatic guest sets off a chain of events that forces both of them to confront their own demons and the harsh realities of a society divided by wealth and status. |
| In a world of glitz and glamour, a hotel worker finds himself caught between his own dreams of a better life and the web of deceit and temptation that surrounds a captivating guest, leading him to make a choice that will change the course of his life forever. |
| Hors de prix is a poignant and thought-provoking exploration of the invisible barriers that divide society, as a hotel worker's pursuit of love and acceptance leads him into a high-stakes game of manipulation and self-discovery. |
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Scene by Scene Emotions