
In the second installment of Eric Rohmer’s Moral Tales, the film follows two close friends who become entangled with a young woman initially presented as naïve and easily taken advantage of. Through the protagonist’s introspective viewpoint, the story unravels a nuanced web of emotions, misunderstandings and self‑deception, showcasing Rohmer’s effort to translate the interiority of literature into cinematic form.
Does Suzanne’s Career have end credit scenes?
No!
Suzanne’s Career does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Suzanne’s Career, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.
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Challenge your knowledge of Suzanne’s Career with this fun and interactive movie quiz. Test yourself on key plot points, iconic characters, hidden details, and memorable moments to see how well you really know the film.
Which character is the timid pharmacy student?
Bertrand
Guillaume
Frank
Sophie
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Read the complete plot summary of Suzanne’s Career, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Two friends in Paris, Bertrand, a timid pharmacy student, and Guillaume, a brash womanizer, cross paths with the independent Suzanne, who holds a full-time job and studies Italian translation at night, after they meet at a café. The moment [Guillaume] uses his wit and charm to draw Suzanne in, she quickly succumbs to his coarse advances, and what starts as a flirtation soon deepens into a relationship defined by Guillaume’s push and pull: he is lively and enticing, but his interest wanes after he has what he wants, while he continues to lead her on and mock her, even as he flirts with other women. Bertrand watches this dynamic with a mix of discomfort and resignation, choosing silence as Guillaume’s behavior continues, convinced that Suzanne must lack self-respect to accept such treatment.
In a surprising turn, Suzanne tries to win Guillaume’s attention by shifting some of her affection toward Bertrand, spending the little money she has on him in hopes of changing his mind about the situation. When Guillaume learns of this, he intervenes in a petty game aimed at ruining Suzanne financially, a stunt he treats as a joke. Bertrand, meanwhile, grows to despise Suzanne more deeply as he sees her caught in Guillaume’s schemes, especially since Suzanne doesn’t push back or expose Guillaume’s cruelty as much as Bertrand would want. The emotional tension sharpens as Bertrand’s crush, the more conventionally pretty Sophie, has become a close friend of Suzanne and repeatedly defends her from Bertrand’s harsher criticisms.
After a party, Suzanne finds herself without money to get home, and Bertrand reluctantly agrees to let her sleep in his room for the night, since he has an early test and wants to preserve the bed for himself. When he returns from the exam, Suzanne is gone, and so too is some money his parents had hidden in a book. He searches for her, and in the process he becomes more connected with Sophie, calling to ask for Suzanne’s address. Sophie suspects Guillaume of theft, rather than Suzanne, and she eventually reveals that Suzanne has become engaged to be married. The revelation shifts the mood and the stakes, reframing Suzanne’s actions as a new phase in a long, complicated relationship.
Bertrand and Sophie later spend an afternoon at a pool with Suzanne and her fiancé, a man named Frank, who is handsome, well-off, and charming. (Frank is played by the same actor who previously drew Suzanne’s attention, marking a new chapter in her life.) As Bertrand watches Suzanne appear content with her choice, his own life feels unsettled: his school performance suffers, and he senses he may be losing Sophie. Yet Suzanne’s happiness brings a quiet, unintentional form of revenge, as Bertrand realizes he can no longer view her as a victim to pity, nor can he lay claim to her life in the same way, and he must come to terms with the fact that her newfound autonomy reshapes how he sees their past.
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