A Fearless Look at Women Wanting More

MOVIE REVIEW
Two Women (Deux femmes en or)
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Genre: Comedy, Drama
Year Released: 2025, 2026
Runtime: 1h 40m
Director(s): Chloé Robichaud
Writer(s): Catherine Léger
Cast: Karine Gonthier-Hyndman, Laurence Leboeuf, Mani Soleymanlou, Félix Moati, Sophie Nélisse
Where to Watch: coming to select theaters April 24, 2026, and then further expansion

RAVING REVIEW: TWO WOMEN doesn’t ease the audience into the conversation. It lays out what it wants to do and builds from there, asking what happens when two people realize they’re no longer fulfilled by the lives they’ve settled into and choose to do something about it. That gives the film its identity. It isn’t hesitant or delicate with its themes, and that confidence carries through nearly every scene.

Karine Gonthier-Hyndman’s Florence and Laurence Leboeuf’s Violette anchor the film with performances that feel almost like we’re watching their lives as flies on the wall. There’s an ease to how they interact, and that chemistry does so much of the work in the film. Florence and Violette don’t come across as exaggerated portraits of dissatisfaction; they feel grounded, like people who’ve reached a breaking point and can’t ignore it anymore. That sense of honesty keeps you rooting for them, even as their choices become messier and less predictable.

What really works is how the film handles sexuality. It never treats it as a gimmick or a shortcut to grab attention. Instead, it’s framed as something tied directly to emotional and personal needs that have been ignored for far too long. The decisions these characters make don’t always work out, and the film doesn’t try to smooth that over. It understands the motivation behind those choices, even when they create complications that ripple outward.

The film also leans into a more layered conversation around sexual autonomy, especially in how Florence and Violette approach it from completely different starting points. There’s a moment where Florence lays out an idea she heard that monogamy was constructed with men in mind, not women. In contrast, Violette initially pushes back, believing it is natural and inherent. That contrast becomes one of the film's more interesting undertones. It’s not about one perspective being right and the other being wrong, but about both women actively questioning what they’ve been taught versus what they feel. Their choices aren’t framed as rebellion for the sake of it; they’re about reclaiming ownership over their own desires in ways that feel personal rather than performative. That parallel journey, where each woman navigates the same space with a different mindset, adds an extra layer that sticks beyond the more surface-level premise.

There’s also a clear awareness that these actions carry weight. The film balances its lighter, more comedic moments with a more grounded look at how these decisions affect the people around them. It doesn’t swing too far in either direction, which helps maintain a steady tone as it moves between humor and a more reflective tone. That balance is a big part of why the film works as well as it does.

The script, adapted from Catherine Léger’s stage play, brings both strengths and limitations. The dialogue is sharp and purposeful, often revealing character in a way that feels intentional without being overly written. At the same time, there are moments where the structure feels slightly confined, as if certain things happen because they’re expected rather than fully earned through the narrative. That’s where the film occasionally loses a bit of its impetus. Some arcs feel more complete than others, which creates a slight imbalance. It doesn’t detract from the overall experience, but it does leave the impression that a few things could have been explored more deeply.

TWO WOMEN is such a compelling film because it commits to its perspective. It doesn’t handle the subject with a softer vision to make the material easier to digest. Instead, it leans into the discomfort of examining desire, routine, and the expectations placed on relationships. That willingness to sit with those ideas rather than rush to resolve them gives the film a stronger sense of purpose.

The humor here works for similar reasons. It grows naturally out of character and situation, rather than feeling forced. Even when the premise edges into more heightened territory, the film keeps its footing by grounding those moments in recognizable behavior and reactions. It’s less about big comedic swings and more about the awkward, sometimes messy reality of people trying to change their lives without always knowing (or understanding) how.

The film resists the urge to wrap everything up with a perfect ending. It leaves the characters in a place that feels consistent with who they are, rather than forcing resolution for the sake of closure. That’s probably not going to satisfy everyone, but it feels like the only honest way to wrap up the story.

TWO WOMEN works because it knows what it wants to explore and follows through without hesitation. It brings a clear perspective and a strong sense of authenticity. The performances keep everything moving, and even when the film stumbles, it’s only a small trip. The film is about the journey, not the destination.

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[photo courtesy of JOINT VENTURE, 9500-4750 QUÉBEC, AMÉRIQUE FILM]

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