Pierre Bost

What are Pierre Bost's films like?

Across their 16 MovieCove titles with a thematic analysis, their films lean Bonds and Morality.

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Pierre Bost's films?

As of October 24, 2026, 1 of their 16 MovieCove titles stream on a subscription or free service, on The Criterion Channel (1).

• The Criterion Channel1 title, browse their movies on this service
  • Douce (1943) · writer

Subscription and free streaming for Pierre Bost's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

16 credits, 16 with a MovieCove page.

• 

  A Sunday in the Country(1984)

  Writer

  Midcredits score: 89th percentile of all films89^th
• 

  The Judge and the Assassin(1976)

  Writer

  Midcredits score: 87th percentile of all films87^th
• 

  The Clockmaker(1974)

  Writer

  Midcredits score: 84th percentile of all films84^th
• 

  Le franciscain de Bourges(1968)

  Writer

  Midcredits score: 59th percentile of all films59^th
• 

  This Special Friendship(1964)

  Writer

  Midcredits score: 94th percentile of all films94^th
• 

  Le chemin des écoliers(1959)

  Writer

  Midcredits score: 57th percentile of all films57^th
• 

  Love Is My Profession(1958)

  Writer

  Midcredits score: 66th percentile of all films66^th
• 

  Gervaise(1956)

  Writer

  Midcredits score: 87th percentile of all films87^th
• 

  The Crossing of Paris(1956)

  Writer

  Midcredits score: 90th percentile of all films90^th
• 

  The Red and the Black(1954)

  Writer

  Midcredits score: 64th percentile of all films64^th
• 

  The Proud and the Beautiful(1953)

  Writer

  Midcredits score: 81st percentile of all films81^st
• 

  Forbidden Games(1952)

  Writer

  Midcredits score: 97th percentile of all films97^th
• 

  The Seven Deadly Sins(1952)

  Writer

  Midcredits score: 50th percentile of all films50^th
• 

  The Glass Castle(1950)

  Writer

  Midcredits score: 29th percentile of all films29^th
• 

  Devil in the Flesh(1947)

  Writer

  Midcredits score: 77th percentile of all films77^th
• 

  Douce(1943)

  Writer

  Midcredits score: 79th percentile of all films79^th

Career shape

Across their 16 MovieCove titles from 1943 to 1984.

Biggest box office

A Sunday in the Country (1984)

$2.4M worldwide

Highest rated

Forbidden Games (1952)

Midcredits 97^th

How do Pierre Bost's films land?

Their typical MovieCove film has a Midcredits score in the 80^th percentile, the median of all 16; across their 16 films with reception data, the typical film sits in the 78^th percentile for acclaim.

Shape of the crowd

13 of their 16 titles are Crowd Pleasers.

13

• Universally Loved1
• Crowd Pleaser13
• Broadly Agreed1
• Mixed1

Most divisive · writer

This Special Friendship (1964)

61^st percentile spread · 9% rated it 4 or lower

Most loved · writer

Forbidden Games (1952)

Midcredits 97^th · 85% liked

Reviewers score the dialogue 67/100 and the plot and story 56/100 in their films, across 15 reviewed titles. The element that speaks to their work as a writer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Who does Pierre Bost work with?

People who share at least 2 of Pierre Bost's MovieCove titles, grouped by what they did on them; Jean Aurenche shares the most, 14.