---
title: "Nine"
year: 2009
kind: "film"
canonical: "https://film.one/film/nine"
fi1m_id: "nine"
imdb_id: "tt0875034"
tmdb_id: 10197
wikidata_id: "Q752989"
fi1m_score: 46
critics_score: 48
critics_reviews: 12
published: "2026-10-01T20:56:49.213600+00:00"
updated: "2026-10-01T20:56:49.661431+00:00"
region: "UA"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Nine (2009)

Directed by Rob Marshall · 1h 58m · Drama, Music, Romance

## Identity

Nine

- **Canonical:** https://film.one/film/nine
- **Type:** Film
- **Fi1m ID:** nine
- **IMDb ID:** tt0875034
- **TMDB ID:** 10197
- **Wikidata ID:** Q752989
- **Same entity:** https://www.imdb.com/title/tt0875034/, https://www.themoviedb.org/movie/10197, https://www.wikidata.org/wiki/Q752989

**Fi1m score: 46** · Critics 48 from 12 reviews

*In a sentence:* All those people who can sing, and we kept wishing they would go back to talking

> Rob Marshall’s musical keeps interrupting its troubled characters with songs that scarcely deepen them. Marion Cotillard supplies the hurt and anger, but a gifted cast and polished staging cannot make Guido Contini’s troubles absorbing.

## Synopsis

Guido Contini (Daniel Day-Lewis) is the centre of *Nine*, a musical drama about a man caught up in his own anxieties and the women around him. Luisa Contini (Marion Cotillard), Carla (Penélope Cruz) and Claudia (Nicole Kidman) share his story, with Lilli (Judi Dench) and Mamma (Sophia Loren) among the other figures in his life. Their encounters alternate with musical numbers, shifting attention between Guido’s private troubles and the women’s feelings. Dialogue gives way to song as the film explores how these characters understand themselves and one another.

## Review

Rob Marshall’s *Nine* has a capable cast and a persistent difficulty getting from a dramatic scene to a song without losing our interest. It is a disappointing musical, occasionally touching when it attends to someone other than Guido Contini. Anthony Minghella and Michael Tolkin’s screenplay asks us to spend a great deal of time considering this man’s troubles, but gives us too little reason to care about them. The performances offer more than the story allows them to do.

Daniel Day-Lewis gives Guido enough humour to suggest why he might hold other people’s attention. There is pleasure in watching an actor find comic possibilities in a character so occupied with his own difficulties, and the performance is less ponderous than the surrounding drama. But charm can only do so much when the same anxieties keep being presented for inspection. After a while we wanted the film to stop asking how Guido felt and give the women more time to answer for themselves.

Marion Cotillard makes Luisa Contini worth that attention. We were moved by her flashes of anger, because they suggest hurt that has lasted longer than the scene we are watching. She makes the feelings clear without making them simple, and gives us someone to care about when the songs have failed to do so. Penélope Cruz also finds poignancy in Carla; these performances persuade us that the women have concerns beyond their usefulness to the man occupying the centre of the film.

Dion Beebe’s cinematography and John Myhre’s production design give the musical numbers a polish that initially makes the stage-bound presentation seem promising. We can see the appeal of letting a performance occupy its own space, apart from the dialogue. Yet the separation soon becomes a problem, because the numbers tell us so little about the people singing them. There is little sense that the characters carry their feelings from the dialogue into the singing.

Wyatt Smith and Claire Simpson’s editing cannot establish a satisfying rhythm between those two parts of the film. Each return to song feels like another interruption, and we begin to anticipate the delay rather than the pleasure. Andrea Guerra’s music does not provide the continuity these transitions need, although the performers can sing and are plainly committed to the material. The deeper difficulty is that so few of the tunes stay with us, leaving the dramatic momentum repeatedly broken for numbers we scarcely remember afterwards.

Fergie’s sequence supplies a welcome burst of energy, and it is worth acknowledging how much more alive the film can feel when a performer takes charge. That pleasure is frustratingly brief. A musical can make room for uncertainty, vanity and unhappiness, but its songs need to change our understanding of those feelings or simply give us musical pleasure. Too often the director stages a number as though the arrival of another capable singer were enough, then sends us back to Guido without much having changed.

There is no shortage of effort here, and the cast deserve credit for making individual passages matter. At 118 minutes, though, *Nine* asks for more patience than those passages repay. Admirers of Marion Cotillard have a reason to persevere, provided they are willing to wait through a good deal of someone else’s unhappiness. For the songs, we would look elsewhere.

*Fi1m score 46, published 1 October 2026.*

## What the critics say

The consensus leans towards disappointment, with praise clustering around the cast rather than the musical storytelling. Marion Cotillard draws the most consistent approval: several critics find emotional force in her performance even when the surrounding film leaves them cold. Penelope Cruz also earns praise for poignancy, while some reviews acknowledge the cast’s singing and the visual polish. The recurring complaint is that the songs interrupt the drama without supplying memorable tunes or bringing the characters’ feelings into focus.

The spread is wide, however. Variety offers an enthusiastic dissent, finding the musical filmmaking sophisticated and entertaining and Daniel Day-Lewis humorous and engaging. More qualified supporters enjoy individual performances despite the awkward structure. At the other extreme, The Guardian condemns both the acting and the portrayal of women. Comparisons with Fellini’s 8½ generally deepen the reservations, though critics differ over whether the performances compensate for the film’s shortcomings.

## Straight answers

**Is Nine worth watching?**

*Nine* is disappointing rather than worth a general recommendation, and we score it 46 out of 100. Marion Cotillard gives its relationship troubles real hurt and anger, but the songs repeatedly interrupt the drama without deepening it. We would reserve it for admirers of her performance rather than anyone looking for a satisfying musical.

**How long is Nine, and what is it rated?**

*Nine* runs 1h 58m. It is a drama and music film.

**Where can I watch Nine in Ukraine?**

*Nine* is not on any streaming or rental service in Ukraine at the moment. It is available in 17 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Nine, and is it suitable for children?**

*Nine* has a US classification cautioning parents that some material may be inappropriate for children under 13. That certificate alone does not establish how violent or frightening it is, so we cannot offer a specific reassurance for sensitive viewers. Its focus on adult relationships and personal unhappiness makes it a more natural choice for older viewers.

**How does Nine compare to 8½?**

*Nine* is the weaker choice beside [*8½*](https://film.one/film/812), which we recommend for a more searching and funnier account of creative paralysis and male self-absorption. *Nine* offers polished musical staging and affecting performances from the women around Guido, but its songs keep breaking the dramatic momentum. We would choose *8½* unless the musical format is the main attraction.

**What should I watch after Nine?**

After *Nine*, try [*8½*](https://film.one/film/812) (1963, Fi1m 91): For a more searching account of creative paralysis and male self-absorption. Then [*All That Jazz*](https://film.one/film/all-that-jazz) (1979, Fi1m 84): Another troubled showman, with musical numbers that make his troubles matter; and [*The Red Shoes*](https://film.one/film/the-red-shoes) (1948, Fi1m 92): For backstage ambition, difficult relationships and dancing that carries the drama.

### Reviews we read (12)

- **Variety**, Todd McCarthy (85/100, inferred): McCarthy finds the film sophisticated, sexy, and entertaining, with its musical filmmaking impressing throughout. He especially praises Daniel Day-Lewis’s humorous, engaging performance and the spirited cast. [Read](https://variety.com/2009/film/markets-festivals/nine-5-1200478003/)
- **Empire**, Ali Plumb (70/100, inferred): Plumb finds the film enjoyable overall despite its clunky structure and lack of truly catchy tunes. He particularly praises Marion Cotillard, whose performance and musical numbers steal the show. [Read](https://www.empireonline.com/movies/reviews/nine-review/)
- **RogerEbert.com** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be determined. No praise or complaint is available to summarize. [Read](https://www.rogerebert.com/reviews/nine-2009)
- **Screen Daily**, Mike Goodridge (64/100, inferred): The visible page identifies this as a review but does not reveal the critic’s verdict. The paywall also hides what the critic singled out for praise or complaint. [Read](https://www.screendaily.com/nine/5008833.article)
- **Time Out**, Dave Calhoun (3/5): Calhoun suggests viewers should set aside expectations from Fellini’s 8½ to enjoy the film. He describes it as an angsty romp, while the 3/5 rating signals a measured verdict. [Read](https://www.timeout.com/movies/nine-1)
- **Total Film**, Neil Smith (3/5): Smith finds the film overly stage-bound and its songs mostly forgettable, though the cast can sing and the film has moments of emotion. He praises Marion Cotillard and Penelope Cruz for bringing poignancy to their roles. [Read](https://www.gamesradar.com/nine-1-review/)
- **The AV Club**, Keith Phipps (C): Phipps finds the adaptation a joyless, forgettable trudge that pales beside Fellini’s original. He faults the musical numbers for stopping the story, while singling out Fergie’s sequence as the film’s best. [Read](https://www.avclub.com/nine-1798207650)
- **Slant Magazine**, Ryan Stewart (1.5/4): Stewart finds the film passionless and creatively blocked, an uninspired reworking of its source material. He praises Marion Cotillard as faultless but criticizes the musical numbers as shallow and irritating. [Read](https://www.slantmagazine.com/film/nine-4608/)
- **The New Yorker**, Anthony Lane (25/100, inferred): Lane finds the musical largely inert and less compelling than its source, Fellini’s 8½. He praises Marion Cotillard’s flashes of simmering wrath, while faulting the songs for stopping the action without leaving memorable tunes. [Read](https://www.newyorker.com/magazine/2009/12/21/free-and-uneasy)
- **The Hollywood Reporter**, Kirk Honeycutt (20/100, inferred): Honeycutt finds the film a disappointment that fails to draw viewers into Guido’s inner life. He criticizes the musical numbers for interrupting the drama and feeling disconnected from the characters’ emotions. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/nine-film-review-93789/)
- **The Guardian**, Peter Bradshaw (10/100, inferred): Bradshaw dismisses the film as shallow, phoney and badly acted. He particularly condemns its condescending portrayal of women and its failure to preserve the subversion of Fellini’s 8½. [Read](https://www.theguardian.com/film/2009/dec/17/nine-review)
- **Eye for Film**, Chris (10/100, inferred): The critic pans the film as an expensive, self-indulgent production with little story. They praise the cast’s talent and the film’s visual polish, but say those strengths cannot make up for its lack of substance. [Read](https://www.eyeforfilm.co.uk/review/nine-film-review-by-chris)

## Details

- **Director:** Rob Marshall
- **Director:** Rob Marshall
- **Screenplay:** Michael Tolkin, Anthony Minghella
- **Cinematography:** Dion Beebe
- **Editor:** Claire Simpson, Wyatt Smith
- **Music:** Andrea Guerra
- **Production design:** John Myhre
- **Costume design:** Colleen Atwood
- **Producer:** Marc Platt, Harvey Weinstein, John DeLuca
- **Cast:** Daniel Day-Lewis as Guido Contini; Marion Cotillard as Luisa Contini; Penélope Cruz as Carla; Nicole Kidman as Claudia; Judi Dench as Lilli; Sophia Loren as Mamma; Kate Hudson as Stephanie; Fergie as Saraghina
- **Runtime:** 1h 58m
- **First release (the UK):** 3 December 2009
- **Genres:** Drama, Music, Romance
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2009)
- **Budget:** $80 million
- **Box office:** $54 million

## Where to watch in Ukraine

Not streaming, renting or buying in Ukraine at the last check.

Also available in: AR, AT, AU, BE, BR, CA, CL, CO, DE, FR, GB, IE, IT, MX, NL, NZ, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2010: Best Costume Design (nominated); Best Production Design (nominated); Best Supporting Actress (nominated)

## If you liked this

- *8½* (1963), Fi1m 91: For a more searching account of creative paralysis and male self-absorption. — [Fi1m page](https://film.one/film/812.md)
- *All That Jazz* (1979), Fi1m 84: Another troubled showman, with musical numbers that make his troubles matter. — [Fi1m page](https://film.one/film/all-that-jazz.md)
- *The Red Shoes* (1948), Fi1m 92: For backstage ambition, difficult relationships and dancing that carries the drama. — [Fi1m page](https://film.one/film/the-red-shoes.md)
- *The Umbrellas of Cherbourg* (1964), Fi1m 88: For songs that sustain a romance rather than repeatedly interrupt it. — [Fi1m page](https://film.one/film/the-umbrellas-of-cherbourg.md)
- *Topsy-Turvy* (1999), Fi1m 88: For the awkward daily work of making musical entertainment with other people. — [Fi1m page](https://film.one/film/topsy-turvy.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/nine