Film Review: Two of Us
Martine Chevallier and Barbara Sukowa in TWO OF US, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
The pleasures and surprises to be found in this impressive first feature from director and co-writer, Filippo Meneghetti, are abundant. Premiering in 2019 in Toronto, Two of Us is France’s Oscar nominee for 2021. It is a love story between Nina (Barbara Sukowa) and Madeleine (Martine Chevallier), two sprightly older ladies who share the top floor of an apartment building in a small French town. Each has her own apartment but with the doors between open at all times allowing free and casual movement between the spaces, uniting them, in an ad hoc way. The world outside assumes they are merely friendly neighbors as does Madeleine’s family, so carefully have they preserved the illusion.
When they are alone, the affection and pleasure they take in each other is on full display.
There is a charming girlish quality in their eager embraces and tender kisses, often playfully accompanied by 1960’s era pop music. The truth is that they are planning a getaway, which would allow for a new start and a chance to live openly as a couple after 20 years together.
Barbara Sukowa in TWO OF US, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
The plan involves selling their apartments and moving to Rome. This easy for Nina who seems unencumbered and more committed to the idea. Madeleine would be forced to admit the truth to her two grown children and grandchild, whom she adores and who are very close to her. She is paralyzed by facing the fallout from such a revelation, partially because of exploding the myth of her perfect marriage to their father as soulmates. Apparently, it was anything but that and she was miserable.
Martine Chevallier in TWO OF US, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
The tragedy of it all is that before she has the chance to come out to the kids, Madeleine has a stroke and is rendered speechless. Nina’s agitation and concern is overwhelming even as she is being shut out by the family and healthcare personnel, who have no clue and regard her with annoyance and suspicion. The more that access is denied, the more audacious Nina’s attempts to be with her escalate. Her anguish is palpable and drives her to some desperate measures to stake her claim to the woman she has loved for 20 years. The energy of the film shifts radically into action with Sukowa’s Nina becoming an avenging angel determined to reclaim her lover. Her performance is stirring and powerful and contrasts with the speechless Madeleine only able to communicate with her large expressive blue eyes, which do receive and send evidence of comprehension. This is a heartbreaker.
Martine Chevallier and Léa Drucker in TWO OF US, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
The beautiful fierce and tender romance between two older women is sensitively written and stunningly filmed in warm intimate close ups, which enhances the expressiveness and intensity of these two seasoned actresses who are mesmerizing screen presences. It looks as if diversity in film has finally begun to cross the line to deal with ageing, having taken up the causes of sexuality, gender, race and cultural issues. It is great news in many ways, not least that more good roles are being written for older actors which gives us and them more time to see and be seen. We need a name for this category which would surely include Sofia Loren in The Life Ahead. How about Silver Screen? Whatever the name, it is something to look forward to.
(Available on filmforum.org)
