This might be the first review where I don’t want to include a star rating and not because ‘Couture’ isn’t good or it didn’t move me but because it feels like it is something so much more. Some films are made to be felt and ‘Couture’ is just that. It was one of the first films I immediately wanted to watch at the Glasgow Film Festival, admittedly because of Angelina Jolie, whom I’ve admired as an actress, filmmaker and human but also because it was directed by Alice Winocour and centred around three women’s lives during Paris Fashion Week. Three different paths: a filmmaker, a model and a makeup artist. All quietly confronting something.

As always, this is your reminder that this review will contain some spoilers.

From the moment Maxine (Angelina Jolie) arrives in Paris to direct her short film, we understand straight away the kind of woman she is. She speaks French confidently, although not having been born in France, she trusts her creative instinct and refuses to allow others to change her vision, even when the men around her question or try to change her vision. There is a painfully familiar moment where her authority is questioned and it felt frustrating because it mirrors the way so many women in leadership are treated as if their confidence and knowledge are questionable. What I loved is that Maxine does not shrink herself or accept men’s visions to make them more comfortable but stands her ground. She stands firm, confident and determined to see her vision come to life. As she is diagnosed with breast cancer, she doesn’t lose her strength but navigates the emotions and thoughts with all the strength she can.

The way ‘Couture’ shows Maxine’s diagnosis and journey is deeply human. We sit with her as she learns about her diagnosis, in sterile rooms, in hospital corridors and in moments where everything feels so unfamiliar and fragile. There is a striking parallel between the fashion world and the medical world as seamstresses take precise measurements of a model’s body while a surgeon traces exact measurements across Maxine’s breast before surgery. The similarities between them are painful, as two different forms of stitching, measurements and alterations are needed, reminding us that there’s a fine thread between beauty and survival.

Maxine’s story leads us to Ada, played by Anyier Anei, a young South Sudanese model who has left home to build a future for herself and her family back home. Ada carries so much ambition and vulnerability as she navigates an industry that celebrates her appearance while knowing little about her own life. The way Ada holds onto her sense of purpose of succeeding, even when she feels alone, is striking and relatable to all of us who have had to leave our country in search of a better life. We are introduced to Ada through Maxine as she is watching her casting tape, a reminder that their lives are connected long before they physically meet. Ada’s journey is about survival in a different sense to Maxine, as Ada is trying to survive her homesickness while trying to make space for herself in a world that is so different from what she knows.

Ada’s journey leads us to Angèle, played by Ella Rumpf, a makeup artist who’s working in the shadows of the runway. Angèle spends her days perfecting other women, covering imperfections and helping them step into the spotlight but never dismissing them. She absorbs the stories and vulnerabilities of the women around her and in doing so, she becomes a quiet source of support for them while trying to achieve her dream of writing. She wants to share not only her story but the stories of those she meets, as she understands that everyone is going through something.

To me, one of the most emotional moments is when Maxine confides in Angèle about her cancer diagnosis before telling those closest to her or her family. I felt something so real and raw, as sometimes it feels easier to speak our fears to someone who expects nothing from us or has any expectations of us. The scene never felt dramatic or exaggerated but sincere and vulnerable, allowing us to feel the fear, the uncertainty and the vulnerability in Maxine’s voice.

Although ‘Couture’ is set during the frenzy of Paris Fashion Week, we never see the glamour but rather see the backstage tension, the exhaustion, the moments of doubt. We witness these women when they are not performing for the world but rather in the dressing rooms as they share their stories, in the hospital spaces when they’re most vulnerable and in the moments where they can just let their guard down without anyone witnessing it. The final storm Alice Winocour has described as a breaking point, a moment of catharsis and transformation and that is exactly what it feels like. The storm does not end their stories but rather shifts them for each of the characters as the storm symbolises something different. For Maxine, the storm acts as a shift or rather a pause to her career as she prioritises her health, for Ada, the storm is a catalyst as she steps into her modelling career with a stronger sense of self and for Angèle, the storm is a new beginning as she begins to write without waiting for others’ approvals. It’s beautiful how the same storm touches each of them differently as it reminds us that while our lives may intersect, our journeys are completely our own.

For me, ‘Couture’ is about womanhood and the quiet power of women supporting one another. The film reflects the uncertainty, the questioning, the confrontation, the determination and fragility of life. It acts as a reminder that health is never guaranteed and time is not promised to any of us. The film doesn’t expect dramatic reactions but rather invites reflection and understanding, reminding us how our life is held by a thread. This is why it doesn’t feel right to give it a star rating because it’s meant to be understood and felt rather than measured.