I was floored by Robichaud’s mastery of fantastic visual compositions and precise editing that increases the impact. The cuts between the images of the two mothers staring out their windows kick up a beat, establishing emotions felt through the eyes. This goes double for the clever sound edits, especially when things get to grinding and groaning.
I got a huge kick out of the male objectification shots, where the top part of the body is cut off to focus on where the woman is looking. Having all these headless abdomens putting plump packages on parade gives the steamiest take on the notion of forced perspective yet. Just when you thought you saw the most clever transition yet, another even more clever hits you in the face.
All of this technical appreciation will go over the heads of normal audiences, as it will instead dive subconsciously into their groins.
All eyes watching Two Women (Deux femmes en or) will be trained on the two women running this show. LeBoeuf completely nails motherhood frustration to a T; you have never seen breast milk pumped with such smoldering fury. Her growing anxiety is convincingly gradual, as is her cautious shedding of inhibitions. She wears the sympathy that Moati’s infidelity bestows upon her like a diaphanous cloak of metal spikes.
“Director Robichaud rocks Leger’s screenplay so hard the windows blow out.”
Gonthier-Hyndman commands the rock star position in the picture. Her emotional spectrum as she glides along her character arc is a vast frontier of darkened libido set ablaze. The foundation of the brilliance of her work lies in how convincing she is in the beginning as someone sexless who is so chemically desensitized she forgets she was going without.
Her gradual transformation during each transgression surprises the audience as to the barriers that are broken. She is also hilarious, with a deadly deadpan delivery that gets the guffaws hard. Gonthier-Hyndman’s performance here belongs in the cinematic pantheon of great sexual heroines like Dorothy Vallens and Babezilla.
Two Women (Deux femmes en or) showcases the rampaging wit of expert writing with the jaw-dropping technique of expert directing. I am keeping an eye on Robichaud’s future work, while Leger’s sex comedies are quickly overtaking poutine as my favorite French-Canadian midnight sustenance.
Two Women (Deux femmes en or) screened at the 2025 Sundance Film Festival.
"…fantastic visual compositions with precise editing that increases the impact."
“Chloe Robichaud’s Two Women (Deux femmes en or) is a saucy, sharp, and delightfully witty French-Canadian comedy that masterfully adapts Catherine Leger’s play. With standout performances from Laurence LeBoeuf and Karine Gonthier-Hyndman, the film explores complex relationships, libido, and self-discovery with humor and heart. Robichaud’s direction amplifies Leger’s snappy script, making this a visual and emotional treat. A Sundance gem that’s both entertaining and technically brilliant. For more reviews, check out this site.”