Two Women Review: This Sex Comedy Turns the Tables with Its Funny and Refreshingly Honest Approach

      Note: This review was initially published as part of our 2025 Sundance coverage. The film is set to be released in theaters on April 24.

      While American cinema often adopts a puritanical perspective on sexuality, our neighbors to the north have created a delightfully candid and humorous comedy about seeking erotic fulfillment in the face of life's obstacles. Adapted by Catherine Léger from her own play Home Deliveries, which draws inspiration from Claude Fournier’s 1970 film Two Women in Gold, Canadian director Chloé Robichaud’s Two Women is a vibrant and heartfelt exploration of the darker aspects of life, including depression, infidelity, and the monotony that can accompany new motherhood. With a comedy-first approach infused with warmth and tenderness, the film is shot on 35mm by cinematographer Sara Mishara, bringing a lively aesthetic.

      Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf) live next door to each other in their Quebec apartment complex and share a sense of stagnation in their lives. Violette is essentially a single mother, raising her baby while her husband Benoit (Félix Moati) frequently goes on overnight work trips under the pretense of sleeping with a colleague (Juliette Gariépy, who has a less unsettling role than her breakout in Red Rooms). Florence has not been intimate with her partner David (Mani Soleymanlou) for years as they settle into a tedious daily routine while parenting their prepubescent son. Both women feel unappreciated, leading to a lack of joy in their lives. When the disruptive cawing of crows, which may or may not resemble orgasmic sounds, creates a bond between them, it introduces a recurring theme of sexual reawakening and initiates their quest for true pleasure as they challenge societal expectations.

      With witty and rapid-fire dialogue delivered expertly by the dedicated cast, Léger’s script addresses topics that a more conventional film might shy away from. Early on, Florence informs David of her decision to stop taking antidepressants to enhance her libido, which from his perspective disrupts their relationship balance, prompting him to take her medication and flip their libido dynamics. This is just one example of the clever exchanges that, despite their taboo nature, evoke memories of Woody Allen’s best works.

      The newly-libidinous Florence begins experimenting by flashing a construction worker and ultimately seduces a cable technician. Sharing her experiences with Violette, Florence argues that monogamy was historically established to placate men rather than women, preventing conflict. This sparks Violette’s own awakening, leading her to casual encounters with various service professionals. In an intriguing twist, Robichaud’s camera positions men as objects of desire and curiosity, granting the women a sense of newfound freedom. However, their partners also receive character development and moments of shared experience; during interactions with Benoit and his mistress, the narrative examines infidelity from a fresh angle, demonstrating that he is not content either. Conversely, David’s dry exasperation at the antics of Florence and Violette—who explore topics such as suicide and collecting hamster droppings—provides comedic delight.

      “There are infinite kinds of pleasure we can experience together as humans, and we just have to give in and let ourselves be swept up in it,” a newly enlightened Florence cites from a text by Catherine Dorion, suggesting a deficit in universal sexual energy that inspires human connection and change. Through its light-hearted exploration of this quest for pleasure, Two Women may seem like a simple diversion, but this aspect enhances its appeal as it unfolds. By uncovering fresh humor in the context of the MeToo movement and sexual objectification, this agile and enjoyable sex comedy offers more depth than mere innuendos and one-liners.

      Two Women premiered at the 2025 Sundance Film Festival.