‘Two Women’ Review: From Quebec Comes a Cringy Remake of a 1970 Sex Romp

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As a fan following the creative trajectory of Quebec filmmakers in their thirties, I’ve noticed a recurring theme: a fascination with revisiting and reinventing the worn-out porn narrative involving unsatisfied wives seeking fulfillment with charismatic handymen. For instance, Monia Chokri’s dramedy “The Nature of Love,” which was chosen for Cannes and won a César for best foreign film in 2023. Now, Chloé Robichaud, director of “Sara Prefers to Run,” is participating in the Sundance World Dramatic competition with “Two Women.” This new film appears to be an awkward, unconvincing remake of a classic 1970 Quebec sex comedy, “Deux femmes en or.

As a devoted cinema enthusiast, I must say that Catherine Léger’s previous work transformed this material into a captivating stageplay. However, the theater adaptation seemed to resonate with a sharp dose of irony, an element conspicuously absent in Robichaud’s film, which appears to have missed the mark with its earnest and naturalistic approach. The silver lining here is that Karine Gonthier-Hyndman and Laurence Leboeuf deliver compelling performances that are truly commendable.

The story primarily unfolds in a drab eco-housing cooperative located in the suburbs of Montreal, where the limited interior spaces evoke a sense of confinement. Residents Florence Gonthier-Hyndman (Translator) and Violette Leboeuf are close neighbors who share this residence. Struggling with mental health challenges, they find solace in each other during their shared experiences related to dissatisfaction in their intimate relationships. In time, they mutually decide to take action to improve their situations.

For several years now, the lively and dark-haired character named Florence, who once shared affection with her partner David (Mani Soleymanlou), a tech-savvy individual responsible for the greenhouse project at their cooperative, has been absent. It’s interesting to note that Max, their 10-year-old son, owns a pet hamster called Florence, which unfortunately consumed its offspring. The adult Florence has long been on antidepressants, yet she recalls vividly the carefree days before when she was spontaneous and vivacious. Upon her decision to stop taking her medication, David opts to begin his own course. In what might be the movie’s most amusing moment (indicating the level of humor present), he tells her, “Our relationship thrives best when one of us is on antidepressants.

Small blonde Violette often finds herself disgruntled about the noise in her bedroom during the day. Alone with their baby, she sometimes thinks she hears noises that sound like people having passionate encounters… or maybe it’s just the crows making their distinct calls. But there’s a nagging suspicion in her mind that her husband Benoit (Félix Moati), a slick pharmaceutical salesman, might be unfaithful to her at every opportunity he gets with his coworker Eli (Juliette Gariépy) during conventions.

As a muscular employee from Pest Control Angels climbs a ladder to investigate Violette’s strange noise, both Violette and Florence find themselves unintentionally fixated on his physique. Following Florence’s comment that monogamy was designed for male benefit, the scene is primed for a series of temporary workers who receive an unforeseen reward as they become the objects of the women’s advances in crass, humorless situations with a strong cringe factor.

Why strive to reimagine a sex comedy from a feminist perspective if you’re unwilling to provide your main female characters with substance and depth? In the narrative, it’s suggested that Violette will return to work, but her occupation remains unclear. Instead, her character is often portrayed through her excessive Facebook posts. Florence, who appears knowledgeable about feminism, gets to expound on feminist theories regarding sexual energy, yet we don’t witness the outcome of her life-changing decisions. It’s puzzling that the most independent, modern, and sexually liberated female character seems to be Eli, Benoit’s mistress.

One of the movie’s notable features includes the captivating 35mm cinematography by Sara Mishara (“Viking”), which lends an expansive feel to the confined action scenes by showcasing dazzling nighttime views of Montreal, bustling commuter trains, and children at play.

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2025-01-26 10:46