Final Rating: 3/5
Two Women (Deux femmes en or), a French Canadian dramedy from director Chloé Robichaud, penned by Catherine Léger, delves into the lives of two neighbours, the nature of relationships and sexuality. It stars Karine Gonthier-Hyndman as Florence, and Laurence Leboeuf as Violette, two women who strike up a friendship at an integral juncture in their lives.
Florence and her partner David (Mani Soleymanlou) live in suburban Montreal, settled into a mundane life, to the point she’s considering going off her anti-depressants so she can attempt to rekindle the joy she experienced in (an alcohol aided) youth. They have a ten year old son Max, (Mateo Laurent Membreno Daigle) and when Florence announces this decision, David’s concerns reflect one of the themes in that they have responsibilities as parents, and have to act in a manner that considers him, not merely themselves. It then delves into a familiar topic reading women of this age as she seems to feel a lack of connection with David, resulting in questioning her appeal as a woman since it’s been ages since they’ve been intimate.
Violette is their neighbour in the condo building. She has an infant daughter, Emma and a husband Benoit (Félix Moati) who is having an affair with Eli (Juliette Gariépy), a colleague. The two form a bond as each seems to be looking for more from their life. Violette has lost her libido since having Emma, while Florence has rekindled hers once off her pills, and they chart this course from varying perspectives.
Florence and Violtte head out to a bar one night, where Florence cuts herself trying to prove a point which later raises David’s concerns about her depression. The women each then begin having affairs, for their own reasons, in much the same manner as Benoit.
There is a line where Violette notes relationships are about context and that seems to be the nature of what they’re getting at as in a given situation one may behave in a certain manner than we otherwise might. Florence opines that she learnt from a documentary that monogamy is for men, as those in polygamous societies unfortunate enough to not be attractive would find themselves alone, and ultimately cause trouble so it behoved society for everyone to have a woman, to keep them in line.
This seems as much about justifying her actions as anything to do with society, as there is never really a sense that she and David are truly, deeply in love, though both are loving parents, and so it’s easier to feel free to act in such a manner if this is the case. David seems at peace with this after starting to take Florence’s anti-depressants and notes that he is now free to do the same should he so wish. However, this ultimately leads to the realization, as is the case in many relationships, that it simply will not function well this way, and in what could be seen as irony or hypocrisy, it’s ultimately Florence who seems more hurt by the notion of an open relationship despite her being the impetus.
They go about these affairs without much counterbalance to what a healthy relationship looks like. There is a depiction of the trials and tribulations of any relationships, whether it’s being new parents or a long term relationship that hits a plateau, but doesn’t develop the relationship between those in said relationships as much as it could to truly resonate, as much as it serves as a reflection of issues I’m sure many will relate to or recognize.
The cast gives these characters some humanity, and a chance to see the error of their ways, even if the script could provide them with more depth. There are some very human and light hearted moments along the journey, and as it notes relationships are work. The question is: are we willing to put forth the effort.
Thank you to Lede Company and Two Women for the screener.
