Following its release on January 22, 2025, the film Toutes pour une has rapidly become the center of intense criticism and disappointing box office performance. Directed by Houda Benyamina, this adaptation of Alexandre Dumas' classic The Three Musketeers reimagines the legendary story through a feminist lens, transforming the iconic musketeers from men to women.
The core narrative now focuses on Sara, played by Oulaya Amamra, who becomes embroiled with three female musketeers—Athos, Portau, and Aramitz—who must disguise themselves as men to protect the Queen of France. The film is touted as both radical and timely, intended to challenge traditional gender roles and encourage discussions about identity and freedom. "To transform in order to be free, to transform in order to be oneself," states Benyamina, emphasizing the film's thematic ambitions.
Despite its ambitious premise, Toutes pour une has not performed well at the box office. Within the first five days of its release, the film drew only 9,407 viewers across 155 screens, failing to break even at its substantial €10 million production budget. Its opening day saw particularly dismal attendance, with just 1,271 admissions from 564 screenings, which averages to about two spectators per session. Comparatively, other films like Jouer avec le feu, released concurrently, saw 20,252 viewers on just the first day.
Critics have not held back their opinions: Éric Neuhoff of Le Figaro criticized the film's direction, describing it as "patauge"—a French term meaning to flounder. He lamented the film's uneven tone, captured best by his assertion: "The film hesitates between spaghetti western and vaguely feminist pamphlet," pointing out issues with pacing and character consistency.
On platforms like Allociné, Toutes pour une encountered additional backlash as its ratings plummeted. Following the sharp rise of extreme ratings—both high and low—Allociné announced they would temporarily suspend the film's audience ratings, questioning the integrity of reviews. "We saw the influx of abnormally high ratings right after the release, and had to respond to this manipulation of votes," explained Adrien Chabal and Julien Drouais, directors at Allociné.
This unusual move reflects concerns from the platform about the authenticity of feedback on such politically charged films. Many critics and viewers expressed apprehension about possible orchestrated campaigns against the film, with doses of extreme opinions both defending and decrying its feminist narrative.
The film's reception raises larger questions about the current cinematic climate, especially around themes of gender representation and the impact of activism within the arts. Houda Benyamina admitted to being "militant" with her film, positioning it within the wider discourse around modern cultural activism. Yet, the public response seems to indicate there might be limits to viewers' appetite for such overt political messaging and storytelling.
Despite financial backing from French taxpayers, filmmakers now face the reality of diminishing interest amid the proliferation of films centered on similarly progressive themes. While Toutes pour une aimed to celebrate female characters and reinterpret classic literature, the execution has been met with skepticism and derision.
Comparisons are already being made to more successful adaptations, like The Count of Monte Cristo, which sold over 9 million tickets shortly before Toutes pour une entered theatres. This disparity highlights the potential disconnect between artistic intentions and audience expectations—an oversight too big for any funder to ignore.
Similar sentiments arise on social media, where the film has been targeted by users eager to express political frustrations tied to the broader cultural zeitgeist. While some viewers applaud the film's efforts to champion women's voices, reactions have been polarized, with many claiming it is emblematic of the excesses of modern 'woke' culture.
Only time will tell whether Toutes pour une can turn its fortunes around or whether the current backlash will seal its fate as one of the most significant cinematic flops of the year. The struggle between artistic expression and box office viability remains at the heart of discussions surrounding film. Critics remain skeptical, viewing the film not just as entertainment but as part of broader conversations about the connections between art, culture, and society.
The disappointing reception of Toutes pour une serves as another reminder of the complex intersection between creative ambition and audience reception, leaving many to ponder if the current cinematic narrative can balance bold statements with engaging storytelling.