By Jessica Herndon
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2025 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
“I have 3-year-old twins, and I know just what kind of tsunami effect that can have on a couple’s life!” Chloé Robichaud, the director behind Two Women, says about her sharp and fun feature. “I am, in fact, the target audience for my own film. I’m even surprised at how much this film has revealed different things about myself throughout the process. I hope it will have the same kind of interesting impact on others.”
Robichaud’s Two Women, which premiered at the 2025 Sundance Film Festival in the World Cinema Dramatic Competition, follows Violetter and Florence, two neighbors who feel like they’re failing despite their careers and families. As they attempt to temper their dissatisfaction through unexpected flings or small acts of rebellion, they begin to feel liberated. Karine Gonthier-Hyndman and Laurence Leboeuf bring humor and depth to this playful and insightful portrait of female desire and self-discovery that blends bold comedy with a keen exploration of motherhood, marriage, and mental health.
“Any adult who has ever been in a relationship can relate to this film,” says Robichaud. “It was designed to appeal to a broad audience. However, I do believe that young parents in particular will recognize themselves in the dilemmas faced by the characters.”
Below, Robichaud discusses becoming besties with her two lead actors, why she felt her movie had to be shot on 35mm film, and the movie she can’t stop watching on repeat.
What was the biggest inspiration behind Two Women?
Two Women is an adaptation of the play written by Catherine Léger. Her play is itself inspired by the cult Québécois film [Deux femmes en or], which made a big splash here in 1970. What sparked Catherine’s interest in this project was the idea of exploring the sexual emancipation of female characters, in a world where our ideals are sometimes still rigid. The original 1970 film told the story of two housewives seeking to break free from boredom by liberating themselves sexually.
Both Catherine and I were drawn to the idea of confronting the concepts of that time with our modern-day values. Has our relationship with women’s sexual autonomy evolved? What about our couples dynamics? And what of our attitudes towards motherhood? Catherine bravely tackles these questions with a great deal of tact and humor. Like her, I wanted to provoke thought, while also offering a film that’s also fun to watch.
Films are lasting artistic legacies. What do you want yours to say?
Life is not a straight line. I believe the film celebrates spontaneity and the importance of getting closer to one’s own truth. The film is, in no way, meant to be moralistic. But it is clear that monogamy is not a simple thing. Some ideals are not easy to attain.
Tell us an anecdote about casting or working with your actors.
I’ve discovered two friends in Laurence Leboeuf and Karine Gonthier-Hyndman. It’s funny to make new best friends at 36. I think it comes from the fact that we had to be very vulnerable with each other during the making of this film. Despite the comedy, the film also delves into very sincere areas. It opened doors between us. And the many intimate scenes in the film led us to reflect deeply together on how to portray female bodies on screen. I’ve had fascinating conversations with them about the representation of female desire. You can feel all these reflections in the film. And that makes me very proud.
What was a big challenge you faced while making Two Women?
I strongly believed that it had to be filmed on 35mm to give the film its nostalgic feel and bring a cinematic quality to a script that is mainly dialogue-driven. Of course, 35mm is expensive today. So, we really had to be creative in how we approached the budget.
Why does this story need to be told now?
We are precisely in an era where relationships between men and women, as well as couple dynamics, are constantly being redefined. We live in a time that is both incredibly prosperous in terms of opportunities, yet also highly demanding in terms of responsibilities.
What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?
You are nothing without the strength of your team. Knowing how to surround yourself and listen to the talents around you is a key element for growing as a director.
What was the last thing you saw that you wish you made?
Celine Song’s Past Lives. Pure perfection.
One thing people don’t know about me is _____.
I’ve seen Notting Hill probably 50 times — and it might come as a surprise to many!
Who was the first person you told when you learned you got into the Sundance Film Festival?
I was at the Toronto airport, about to board my flight to Montreal. I received the message from Kim Yutani, and I was overjoyed. But I was alone and surrounded by strangers, so I felt like I couldn’t fully express my emotions. I stepped away to call my partner, Katherine. And the first thing I said to her was that the tarot card reader was right. The only time I saw a medium in my life was just a few weeks earlier. And he told me my film would be at Sundance. True story.
What’s your favorite film that has come from the Sundance Institute or Festival?
Whiplash definitely had a strong effect on me. Same with Love Lies Bleeding.
