Director Chloe Robichaud’s ‘Two Women’ Reclaims Female Desire in Bold Sex Farce

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Debuting on January 25 from Sundance’s World Dramatic Competition, “Two Women” unfolds as a humorous take on sexual dynamics post-MeToo movement. It revolves around two homebound mothers yearning for something more in life. They discover an unconventional way to satisfy their desires, by engaging in flirtatious games with local repairmen.

Chloe Robichaud, the director, and Catherine Léger, the screenwriter (“Babysitter”), transformed Léger’s 2022 play, which was an adaptation of the 1970 Quebecois erotic comedy “Two Women in Gold”, into a modern version. They kept the humorous and emotional essence of the original but updated the societal setting to reflect current times. Instead of lonely housewives, we now see remote workers and individuals on medical leave, yet the underlying marital dissatisfaction remains consistent.

Further down, EbMaster communicates with Robichaud, who previously showed us a sneak peek of her fourth film. The global distribution rights are managed by Pulsar Content.

Were you familiar with the 1970 film beforehand?

For the first time, I encountered this movie during my college years while delving into cinematography. Known as a timeless cult classic, it mirrored the societal changes in terms of sexuality and culture from its period, which made our analysis from a historical standpoint particularly insightful. I found it incredibly impactful.

The movie exhibited a unique, unstructured style, often associated with the “new wave” movement, making it intriguing. It centered around two housewives who, finding their lives monotonous, dared to rebel and embark on sexual escapades. This was remarkably modern, even hinting at feminism, despite its 1970s origin being met with criticism due to its perceived invasiveness and explicitness. However, the underlying concept remained captivating, so when Catherine proposed an updated adaptation, I found myself eager to imagine a contemporary interpretation of the story.

What was your way into this adaptation?

My starting point was investigating the reassertion of female desire – examining ways to portray two women expressing their desire autonomously. We frequently discuss the “female gaze,” but depicting female attraction towards men from a woman’s viewpoint is still relatively uncommon, making it incredibly thought-provoking and inspiring for creative work. The film does not shy away – you will witness intimate shots of male bodies, such as hairy chests and buttocks, which are not typically seen from a feminine perspective. Turning this dynamic on its head was an exhilarating challenge.

How did you work to find a visual language for that form of desire?

In our conversations, we delved deeply into various topics! Initially, we tackled the subject of nudity. Notably, a 1970 film featured extensive nudity, with women frequently shown nude during intimate scenes. My intention was to challenge and subvert these expectations by presenting nudity in unexpected ways. I reasoned, if viewers want to see exposed breasts, then they will, but they’ll see them in casual settings, like reflected in a bathroom mirror or while pumping milk. Similarly, when we observe a woman’s backside, she would be seated on the toilet. Our goal was to catch viewers off guard by employing nudity outside of its typical sexual context.

In the process, the acts of intimacy revolve more around feelings rather than mere sensations. These women aren’t merely yearning for physical touch; they seek emotional bonding and warmth. Consequently, we emphasized the concept of touch and its associated emotions, using shots that mirrored the characters’ perspectives, highlighting their objects of affection. The placement and viewpoint of the camera were carefully planned, ensuring nothing was included unnecessarily.

How did those discussions go?

Prior to shooting, we engaged in detailed conversations with an intimacy consultant. I expressed my creative ideas to her, and collaboratively, we defined our objectives with the cast. We even planned out the scenes during pre-production, which involved inflating a mattress in my office and then rehearsing together with the actors, coordinator, and cinematographer. It was quite enjoyable.

Subsequently, we presented each actor with the layout of every shot, ensuring they understood exactly what was to be captured on camera. This transparency eliminated any confusion and made everyone feel secure, fostering a sense of freedom. Actors were less tense and hesitant as they knew their roles and reasons for taking them. This relaxation allowed them to be more open, giving better, more focused performances. Actors might shy away from voicing worries directly to the director due to a desire to please. However, when it comes to nudity, actors must have the power to establish limits. A mediator helps ensure this autonomy.

The film has a strong visual style, with bold colors. What inspired that choice?

To strike a balance between making the narrative feel authentic and resonant with everyday challenges, yet incorporating Catherine’s unique blend of surrealism, we had to find the perfect equilibrium. We chose to anchor the movie in genuine environments – such as filming on location in real apartments instead of studios – while infusing these settings with lively, pop-art-inspired colors that reflect the story’s spontaneity. The characters are liberated and full of life, and I aimed to reflect this vivacious energy in my direction. The vibrant color scheme accentuates the joyful disorder while adding layers of complexity. The film addresses heavy topics, but it does so in a way that is both inspiring and enjoyable.

Do you think motherhood influenced your approach here?

Five years ago, when Catherine initially spoke with me, I didn’t have any children and had a theoretical perspective on motherhood. However, by the time we began filming, I was caring for 2-year-old twins myself, which meant I was experiencing the same turbulence as the characters. This enabled me to grasp the influence of motherhood on physical health, relationships, and life in general, thereby fostering a stronger bond with the story and enabling me to guide the actresses more effectively. While it’s not necessary to be a parent to create a film about parenthood, in this instance, my personal experiences lent an emotional depth that proved beneficial.

How else might this film have been different had you made it five or even 10 years ago?

Over time, I’ve accumulated a wealth of knowledge in my professional journey. It’s been 12 years since my first project, “Sarah Prefers to Run,” and since then I’ve ventured into TV, comedies, and dramas. This experience has boosted my self-assurance and allowed me to express myself more authentically. Just as the characters in this latest film, I find myself feeling liberated in my career. I can now confidently declare, “This is who I am,” and “This is the kind of cinema I wish to create.” Previously, five years ago, I might have been more hesitant, concerned about how others would react to the film. Now, however, I wholeheartedly embrace this newfound freedom.

How so?

In essence, opting for 35mm film was an assertive decision for our broad comedy production, a choice I had to advocate for. With dialogue-heavy scenes and settings primarily within small apartments, the movie could’ve seemed confined if not for the cinematic impact of 35mm. I wanted to pay tribute to the 1970s version by suggesting that while times have changed, certain aspects remain constant. Maintaining a vintage aesthetic serves as a reminder that despite some progress, we still face similar issues.

The movie, in its own way, satirizes certain aspects of the #MeToo movement, making light of them in a manner that feels contemporary. By addressing #MeToo concerns thoughtfully, you open up space for humor. This is a testament to Catherine’s writing style; she approaches feminist themes from multiple perspectives with remarkable subtlety and without any intention of preaching. By exploring societal issues through different lenses, humor serves as an effective tool for encouraging introspection, and Catherine excels at this.

Additionally, discussing heavy subjects with a touch of humor can help us view them in a fresh light. To be honest, it’s likely that five years ago, we wouldn’t have found humor in these topics, but now might just be the right time. We can laugh without making fun of the issues; instead, we’re simply approaching them with a more relaxed perspective, and that’s beneficial.

Are you considering sticking with Quebec filmmaking, or do you find yourself drawn to working overseas, similar to what some of your colleagues have chosen?

You could rephrase it like this: I consider that question as open-ended. To me, it’s a yes from both perspectives. I’m deeply connected to Quebec cinema, as I reside here – it’s my home, where my kids are growing up, and I have no plans to relocate. Yet, there’s a yearning in me to explore more, which is why my next film will be written in English. Embracing the unfamiliar can lead to growth and new experiences.

Absolutely, I aim to broaden my creative scope, yet I’ll forever take pride in labeling myself as a Quebec filmmaker and a Canadian filmmaker. I am deeply proud of the Quebec cinema we have here. If possible, similar to Denis Villeneuve, I would cherish the opportunity to create films overseas, but return home to shoot them with our talented local crews – that’s my dream.

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2025-01-22 20:54