Two of Us
Magnolia Pictures | Release Date: February 5, 2021 CRITIC SCORE DISTRIBUTION
82
METASCORE
Universal acclaim based on 20 Critic Reviews
Positive:
20
Mixed:
0
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
100
Los Angeles TimesRobert AbeleFeb 4, 2021
Two of Us is one of those artfully crafted movies that never plays as such, because its proud, beating heart is so front and center, and its faith in the power of love and desire so energizing. Read full review
100
Screen DailyLisa NesselsonFeb 4, 2021
Beautifully crafted and perfectly cast, the film touches on everything from keeping up appearances and family dynamics between parents and adult children to a critique of retirement homes that over-medicate residents. Nina and Mado’s loving intimacy is exquisite as is the care with which the proceedings are lit. The answer to Nina’s question, who cares about two old dykes, is that we do. Read full review
91
Original-CinKaren GordonFeb 4, 2021
How wonderful to see a movie that deals with the emotional and sexual life of two very different women north of 60, who are the sum of their lives, not bound by cultural cliches or perceptions. Read full review
90
The Globe and Mail (Toronto)Anne T. DonahueFeb 5, 2021
As visually stunning as it is profound, Two of Us is an incredible exploration of what it means to love and be loved in return. And while Sukowa’s passionate and remarkable performance is heart-stopping, Chevallier’s quieter moments will make an indelible mark on your heart, changing the way you see others and even yourself. Read full review
90
Wall Street JournalJoe MorgensternFeb 4, 2021
This debut film by Filippo Meneghetti, streaming on major digital platforms, is elevated by the beauty of its performances, and by its masterly technique, which would suggest a filmmaker at the height of his career, not someone directing his first feature. Read full review
90
The Hollywood ReporterDavid RooneyFeb 4, 2021
It transitions from tender romance into penetrating sorrow before taking on notes of mordant humor and unexpected quasi-thriller elements. Read full review
88
Chicago TribuneKatie WalshFeb 4, 2021
Sophisticated management of tone makes Two of Us rich and nuanced, complex and utterly heartbreaking. Within the folds of the film, simultaneously a love story, thriller and tragedy, nearly anyone can find an anchor, or a wound. It illustrates with devastating clarity what a mess secrets can make, and how one errant, unpredictable thread can unravel any carefully calibrated lie. Read full review
83
Entertainment WeeklyLeah GreenblattFeb 9, 2021
Meneghetti, a first-time but remarkably assured filmmaker, gives Two a dreamlike realism, letting the score go ragged in its tensest moments and swooping in artfully on aching closeups and empty spaces. Read full review
83
The Film StageJose SolísFeb 4, 2021
Meneghetti might be a first-time director, but in his assured pace, his determination not to provide easy answers, and his ability to suggest without manipulating, his career can’t help but look promising. Read full review
83
The A.V. ClubCaroline SiedeFeb 2, 2021
The burden of love is the fear of loss, and that unease is compounded when it’s tied to the inability to live as your authentic self. Meneghetti understands that loving someone isn’t just a joyous experience. It’s an anxiety-inducing one, too. Read full review
80
The GuardianCath ClarkeJul 13, 2021
How refreshing to watch a film in which the sexuality and desire of women in their 70s is portrayed not as a novelty but simply part and parcel of their lives; and since this French movie is a lesbian drama, there’s two of them – even better. Read full review
80
VarietyMark KeizerFeb 4, 2021
The tale of two older women whose decades-long secret relationship is threatened after tragedy strikes covers emotional and thematic ground that transcends the sexual preferences of the two main characters. Read full review
78
Austin ChronicleSelome HailuFeb 4, 2021
Two of Us traverses familiar beats about caring for elderly and disabled loved ones, romance impeded by unclear boundaries, and coming out to family members who may reject you. But by encasing those narratives in such genuine characters and shooting them with compassion and subtlety, Filippo Meneghetti’s feature debut imbues a painful story with necessary warmth. Read full review
75
San Francisco ChronicleMick LaSalleFeb 25, 2021
The drama builds and builds until the last seconds and never really lets up. It’s a striking debut from Meneghetti, in his first feature film. Read full review
75
IndieWireDavid EhrlichFeb 11, 2021
It’s a shame that Meneghetti’s script (co-written with Malysone Bovorasmy) almost seems to be afraid of its own potency, as the movie stagnates over the course of a second act that relies on thin suspense and empty introspection when it can no longer bear to sit with the agony of Nina’s predicament. Read full review
75
RogerEbert.comOdie HendersonFeb 5, 2021
The beats play in a suspense thriller’s register, creating a heightened tension that is often unnerving. We are living the story through the eyes of a lover desperate to reconnect with her beloved, and her feelings of desperation, concern and fear bleed directly into the frame. Read full review
75
Movie NationRoger MooreJan 21, 2020
The film’s brevity means some ideas are under-developed. But what we’re left with is a sublime and sublimely simple portrait of a love that’s been lived in and the devotion it will take to ensure that endures. Read full review
70
TimeStephanie ZacharekFeb 5, 2021
Two of Us keeps you guessing where it’s headed until the very end. But it’s not giving too much away to say that it’s about the unconscious dance steps a person takes as she moves toward the person she calls home. Read full review
70
The New York TimesBeatrice LoayzaFeb 4, 2021
Through the use of symbolic peepholes, eavesdropping and dark rooms that provide cover for whispered assurances of devotion, Two of Us succeeds as a stealthy depiction of lesbian erotics, one that mirrors the inhibitions of a generation. Read full review
70
The New YorkerAnthony LaneJan 29, 2021
The revelation here is Chevallier—or, to quote the end credits, “Martine Chevallier of the Comédie Française”—as Mado. Watch her watching the people around her, after the languid strength of her body has failed. Some of them discuss her as if she were absent, or dead, but her sharp blue eyes, following the action, and almost filling the movie screen, show that her wits are intact. So is her force of will. She’s all there. Read full review
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