Quebec filmmakers, notably those in their 30s, are showing an interesting penchant for revisiting old clichés of dissatisfied wives turning to handsome handymen for sexual satisfaction. On this trend's trailblaze was Monia Chokri’s lauded dramedy “The Nature of Love,” which won acclaim at Cannes and snatched the César for best foreign film in 2023. Now, Chloé Robichaud, known for “Sara Prefers to Run”, steps into the arena of Sundance World Dramatic competition with her version, “Two Women,” but unfortunately draws heavy criticism for its lackluster and strained remake of a 1970 Québec cult classic, “Deux femmes en or.”
A previously successful stage adaptation of the plot by Catherine Léger brimmed with refreshing irony. Regrettably, such qualities were notably absent from Robichaud's film, which instead reads as an earnest yet misguided attempt. The relatively redeeming elements are the performances of the leads, Karine Gonthier-Hyndman and Laurence Leboeuf.
Set mostly in a bleak Montreal suburban eco-housing coop, the narrative frames the lives of neighbors, translator Florence (Gonthier-Hyndman) and new mom Violette (Leboeuf), juggling dissatisfaction in their sex lives and dealing with various mental health issues. With their partners - a tech nerd and an unfaithful pharmaceutical salesman respectively - providing no help, the women take matters into their own hands.
In their collective quest for satisfaction, the women engage in a series of cringeworthy and often unfunny instances of seduction with hired workers - the comedic tone of the original film is lost amid this frigid unfunniness. Robichaud's execution leaves much to be desired; a feminist remake demands stronger characterization for its principal women, and this opportunity is sorely missed.
Despite the lackluster storytelling, the film does offer beautiful 35mm cinematography by Sara Mishara, offering glimpses of Montreal's night scenes, commuter trains, and playful children, providing much-needed respite from the otherwise angst-ridden narrative.
