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Two couples are out at an event. Daniela and Rodrigo (Melissa Barrera and Mariano Palacios) are ridiculously attractive. Daniela's cousin, Tania (Anahí Dávila), is worried that she's missing out making her life feel more boring. She's married to Benny (Daniel Adissi), who has antediluvian views of the role of a wife in a marriage. The couples get pretty wasted, and the women decide to each go home with the other's husband. The problem is one of the cars crashes, killing the partners of the people in the other vehicle. The surviving widow and widower must now try to navigate the mistrust and rumors in their community, the loss of their friend and lover, and the strange position concerning one another that they are put in.

Media

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Sales Points

• Pay TV release April 2020 Cinelatino. US and LatAm
• OFFICIAL SELECTION Santa Barbara International Film Festival
• SPECIAL JURY PRIZE Festival Internacional de Cine de Merida y Yucatan

Press Quotes

Imagine putting Pulp Fiction, Memento, Sliding Doors, Abre Los Ojos, Mulholland Drive and Y Tu Mamá También in a blender. That still doesn't quite capture it, because Two Times You has such a unique style that it is a singular vision. Two Times You is almost perfectly balanced, the result is like most great art, you end up thinking about what it all means for hours. Only a few times in my life have I wanted to watch a movie immediately again after it is over, but this is one of them. Two Times You isn't a movie I can explain in words because it really is a cinematic experience. 9.5/10

     —Andy Howell, Filmthreat

This is one of those instances where you'll wish there were blu-ray copies on sale in the lobby to instantly revisit to see how in hell Askenazi pulled it off.

     —Scott Marks, San Diego Reader

Director Salomón Askenazi makes some absolutely nutty decisions with the script and most of that works to a spectacular degree. A film that does something different such as this is worth its weight in gold.

     —FilmSnobReviews

A visually striking, emotionally brutal exploration that doesn't look or feel like anything else in 2019 cinemas.

     —Glenn Kenny, film critic (NY Times, RogerEbert.com