Los Angeles Times by Robert Abele

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.

Screen Daily by Lisa Nesselson

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.

Original-Cin by Karen Gordon

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.

The Hollywood Reporter by David Rooney

It transitions from tender romance into penetrating sorrow before taking on notes of mordant humor and unexpected quasi-thriller elements.

Wall Street Journal by Joe Morgenstern

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.

The Globe and Mail (Toronto) by Anne T. Donahue

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.

Chicago Tribune by Katie Walsh

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.

The Film Stage by Jose Solís

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.

The A.V. Club by Caroline Siede

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.

Entertainment Weekly by Leah Greenblatt

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.

Variety by Mark Keizer

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.

Movie Nation by Roger Moore

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.

The New York Times by Beatrice Loayza

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.

The New Yorker by Anthony Lane

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.