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An easy going movie, with nothing special, nothing to be attracted, just for a good time in a summer cinema

As others said it here, this is a very French film. It's also very verbal and very witty, though most of the text is there only as a vehicle for the story itself about the relationships between four friends two of them being a part of the French literary circle, and their wives. The only reason this thing works at all, is the fact that all of the cast oozes charm. One keeps on watching them talking and talking, because they're so very charming doing it, their wit flows naturally. But the truth is that we didn't really get to see here great original story. All we've got here is an endless verbal deluge, delivered with a certain French smile of self awareness, and as I already said, with loads of charm. If that's enough for you, you'll love this film. I found it a bit longish, I thought the director didn't really know how to end it, so he tried a few endings and left them all in, a mistake not suitable for an experienced director. But that's about it.

Very disappointing film from a good director. First of all after twenty minutes you notice that all the discussions about the effects of internet on publishing industry is passé, characters conversations about ebooks versus paper books are repetitious and boring. All main characters are one dimensional and we don't learn anything about them expect that they all have affairs and husbands infidelities are surprisingly acceptable by their wives. There is no drama or plot to follow except affairs and talks about ebooks !!

Doubles vies (2018) (literally Double Lives) is a French film that was shown in the U.S. with the title Non-Fiction. The movie was written and directed by Olivier Assayas.

Guillaume Canet as publisher Alain Danielson, who is married to the TV actress Slena (Juliette Binoche). They are friends with another couple, author Léonard Spiegel (Vincent Macaigne) and political consultant Valerie, portrayed Nora Hamzawi. Into the mix comes Laure d'Angerville played by Christa Théret. She works for Alain as "Head of Digital Transition."

Because this is a French film, everyone sleeps with everyone else, and everyone gathers in groups of four, six, or eight to talk, talk, and talk. (They also gather in cafes to talk.)

Nothing is going quite right for any of them, and they are all dissatisfied with their lives. This is despite the fact that they are beautiful, successful, relatively wealthy people. (Remember this is a French film.)

On the positive side is that the acting is excellent, the plot moves forward steadily, if slowly, and the movie embodies everything I know about French intellectuals. OK--it's true that all I know about French intellectuals is what I've seen in movies about French intellectuals. Even so, by that criterion it looks right.

If you like dialog films, with great French actors, this film is for you. If you like movies with more action and less talk, then Non-Fiction isn't for you.

We saw on the large screen at Rochester's great Little Theatre. It will work well enough on the small screen.

I think it's worth seeing, but I'm somewhat prejudiced, because I have wanted to see La Binoche act ever since "The Unbearable Lightness of Being" in 1988.

As a fan of European films with an intellectual spark and some witty humor, I was expecting to enjoy this. Despite a slow start, I kept hoping for an eventual improvement, but the film just dragged on and on, repeating the same idea in many different settings, to the point of exhaustion, for 108 tedious minutes.

While there were a couple of funny moments, they were too few and far apart. As far as the story went, there was not much beyond the initial concept. As a character-driven film, I found most characters to be flat and unrelatable, particularly the protagonist and his romantic interests. The minor development at the end felt forced and out of place.

Since I saw this at the Toronto Film Festival, a Q&A followed at the end. Unlike other public screenings that I've attended so far, most questions this time came from people in the film industry, who themselves mentioned that they could probably better relate to the book publishing industry, thus this film, than most. Since I'm not of the industry nor a French speaker, I could only hope that some of its charm lost in translation.