Nina Dorn (Barbara Sukowa) and Madeleine Girard (Martine Chevallier) are neighbours, living across the hall from each other in an aged apartment building in the quiet suburbs of Paris – at least that’s what they tell everyone who encounters them. In reality, the two women have been in love with each other for decades, having been involved in a passionate romance since they were much younger, which they have hidden from everyone in their lives, including Madeleine’s grown children, who can’t fathom the possibility that she is simply an ageing widow. The couple has been quietly planning to make their relationship public knowledge through informing their families, and spending the rest of their lives together, which they hope to be somewhere in Rome, which holds a special place in their hearts, since it is where they began their relationship all those years before, and where they’re hoping to return, in order to truly dedicate themselves to this incredible romance. However, these plans are easier said than done, and whenever confronted with the opportunity to reveal her closely-guarded secret to her family, Madeleine finds herself retreating even further from the truth, which causes Nina, who is tired of hiding their romance, great discomfort, since her refusal to take the leap and admit it to her children is preventing them from starting their life together – and with each passing day, the corridor between their apartments becomes even wider, especially after a health-related tragedy strikes that causes them to face a new set of challenges, which isn’t helped at all by the presence of an array of meddling individuals who aren’t ready for the revelation lurking just out of sight.

We don’t often see films like Two of Us (French: Deux) made, even through the rising popularity in queer-oriented cinema, which has attempted to tell stories that the mainstream cinema of past decades were too hesitant to do, a result of conservative values dictating what could be reflected on screen. Filippo Meneghetti’s beautiful story of two elderly women finally wanting to break out of their socially-mandated shell of secrecy, and reveal their decades-long passion to a world that they feel is finally ready to accept them, is the basis of one of the year’s most exceptional films, a striking metaphysical odyssey that is centred on two astonishing performances, and told with a careful precision that allows the director to navigate through a number of genres. He is questioning several issues and challenging conventions in a way that feels entirely authentic and perhaps even experimental in some aspects. It all results in the delicate crafting of a film that functions as a soaring romance with some broad overtures of a psychological thriller, which makes for truly fascinating viewing that will captivate any viewer with even a passing interest in a story that provokes several themes that are highly relevant to the contemporary socio-cultural landscape. Two of Us is a film that should resonate with absolutely anyone who has felt the pangs of self-depreciation when it comes to addressing their identity (especially in contrast to the heteronormative ideals of a society driven by stagnant principles), whether to ourselves or to the world around us – and the fact that Filippo Meneghetti was able to condense this into such an elegant, warm drama is only further indication that Two of Us is one of the year’s most essential works of social commentary.

Despite the occasional resounding cries of critics and members of the industry, queer cinema still has a long way to go, especially when it comes to looking at stories that aren’t centred on young people coming to terms with their sexuality, which has created an unequal balance in the stories that tend to gravitate to the surface most frequently. This points directly at a major issue that is barely addressed, that of looking at queer issues beyond the coming-of-age tale – there are certainly many artists who have attempted to resolve this through telling these stories, but they barely find audiences, since there is an unusual animosity towards anything that presents sexual desire as, for lack of a better term, tedious. Two of Us is a considerable step forward in this regard, and Meneghetti (who claims to have been inspired by two women he knew in his personal life in the creation of this film, and what he expected was a long romance hidden out of public view) seems to be fully-intent on capturing the essence of desire in the long-run, focusing less on the immediate viscerality of attraction, but rather on a romance that has stood the test of time. However, despite being centred on two older characters who have been hopelessly devoted to one another for decades, there is a complete lack of tediousness, with the passion existing between them being a propellant for an incredibly complex story of two women making the decision to step out of their comfort zone and celebrate who they are – which they find out may be a lot more difficult in execution than it is theory, making this fertile ground for an in-depth exploration of romance, taken from a very different perspective.

The film is anchored by two exceptional performances, who bring Meneghetti’s incredible story to life with poise and sophistication. Barbara Sukowa, who is rarely not firing on all cylinders (even when she’s relegated to forgettable cameos or minor roles in films that don’t appreciate her talents), plays the fiery Nina, a woman unafraid of letting the world know who she is – probably because she has only known life with Madeleine. Sukowa lights up the screen, playing Nina with a combination of stark intensity and heartfelt sincerity – so much of the role requires very subtle, internal expressivity, and very few performers are able to so effectively do this as Sukowa, who is proving why she is an absolute icon of European cinema, and should be treasured as such. However, the film (as the title suggests) is a two-hander, and Sukowa is met beat-for-beat by Martine Chevallier, who is just as compelling as Madeleine, who finds the process of coming out of the closet far more intimidating than she ever imagined – she doesn’t realize that there is a world of possibilities awaiting her once she takes the crucial step: the question is whether or not she actually wants to take the leap. Chevallier may be the more subdued of the pair (especially considering how roughly half of her performance is done without words, a result of the central plot development), but in much the same way as her scene-partner, she finds depth through expressive acting that may not be particularly noteworthy as a cursory glance, but finds its way into the heart of every viewer that would tend to appreciate this very distinct style of acting from two incredible performers who give amongst the year’s finest screen portrayals – and their chemistry only gives further nuance to a film that benefits endlessly from their incredible work.

Two of Us is a film that provokes some fascinating conversations without being too intent on positioning itself as the definitive word on any of its themes. As mentioned before, what makes this such a compelling film is how it addresses a subject that isn’t often the core of mainstream romances. Love stories between older individuals aren’t uncommon, but they barely tend to register, and are normally perceived as novelties in many instances, which seems not only inappropriate but also deeply disconcerting. Two of Us is a film that remedies this without making it the central conceit or intention – and in addition to addressing an issue that may not be taboo, but rather more of a scarcity in modern culture, the director also layers discussions on sexuality and identity on top of it, creating a multimodal work of hauntingly beautiful drama that seems willing to have a number of insightful conversations. Meneghetti works to ensure that every moment of Two of Us resounds as entirely authentic – and whether this entailed avoiding nearly every instance where heavy-handed preaching or overwrought emotion would normally be found (replacing it instead with moments of subdued, almost forlorn subtletly), or rallying against saccharine sentimentality. This doesn’t mean that there aren’t an abundance of heartfelt moments in this film – in fact, the occasional callous, psychological approach only serves to bolster the more tender sequences, such as the perpetual refrain of “Sul Mio Carro”, a French-language cover of “I Will Follow Him”, one of the most romantic songs ever recorded, and one that is oddly fitting in the context of this film), which punctuates various pivotal moments, and results in a truly unforgettable ending that lingers on as a vivid image in the mind of the viewer.

All of this converges into a film that wears its heart on its sleeve, and shows itself as willing to take the audience on a journey of self-discovery, channelling our innermost quandaries through the story of two women struggling to find their place in a world that may be more accepting of their love, but is still hostile to the belief that what they’re engaging in is conventional. Traditions should not play any part in matters of the heart, and as this film demonstrates, the moment one puts a label on something as metaphysical as desire or the deepest passions we feel in the cockles of our hearts, the more we’re subscribing to the belief that everything should carry a name, meaning and reputation. Meneghetti fights against these assumptions throughout Two of Us, making a film that may be undeniably simple – with the exception of some moments where it very creatively manages to employ elements more associated with the thriller genre, the film functions as a relatively straightforward story of two wayward individuals realizing that they’re still capable of reinvention, and that change is inevitable, even for those nestling into the final years of their lives. It’s not complex in theory, which allows the director the freedom to assert his own artistic vision on a premise that benefits from his assured vision. The combination of a promising young filmmaker and a coupling of veteran actresses is perhaps not the most expected pairing, but it results in a film that deviates from conventions in some very creative ways, and goes in search of something more meaningful and profound by taking aim at the more abstract matters that don’t usually find their way to the surface in such films. For all these reasons and more, Two of Us is an absolutely essential film – and its earnest, heartfelt approach to some challenging ideas only further proves what an absolute triumph this film is.