The Midwife

Claire has spent decades tending to new lives, a midwife whose days revolve around patients, colleagues, and the rhythm of delivery rooms. As the local maternity clinic faces an abrupt shutdown, the routine pressure gives way to new personal tensions. Then Béatrice arrives, the father figure's former mistress, a woman who lives for impulse and unpredictability. The two women could hardly be more different: Claire patient and steady, Béatrice bright and truly self serving. The encounter stirs old resentments and delicate power plays, forcing both to question the values that shaped their lives. The film tracks a storm of emotion as past loyalties collide with present needs, without losing its quiet, observant mood. The tension stays intimate, never turning melodramatic.

Directed by Martin Provost, The Midwife debuted in 2017. It stems from an original screenplay rather than a direct adaptation, and it relies on closeups and restrained storytelling to highlight the performances of Frot and Deneuve, highlighting Provost's signature style.

The film grossed 7,286,136 dollars worldwide, against a 7,000,000 dollar budget. It found its audience primarily through word of mouth and steady French and European releases internationally, plus emphasis on festival appeal and strong performances that drew critics' attention later.

Two legendary French actresses anchor the film, turning a quiet drama into a talk of aging and care, and the performances spark humor. Critics highlighted the restrained atmosphere and how hospital setting becomes a lens for examining loyalty, memory, and personal duty. That tone lets restraint do the heavy lifting.

Critics generally responded with measured approval, praising the performances and Provost's direction. The film explores duty to others versus personal fulfillment, the weight of family history, and the quiet resilience of women facing change. Its reception sits with broader conversations about aging, family duty, and the role of women today.