This romantic comedy centers on the search for love and happiness of three employees of a Parisian beauty salon "Vénus Beauté Institut": Angèle (Nathalie Baye), Marie (Audrey Tautou), Samantha (Mathilde Seigner), and their manager Nadine (Bulle Ogier).

Tonie Marshall's mother Micheline Presle also appears in the film where she plays the part of Aunt Maryse.

"[8] Tonie Marshall has been mostly influenced by Jacques Demy's films throughout her career, the most famous ones being The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967).

Venus Beauty emerged from this influence, as well as an additional source of inspiration: the French film Belle de Jour (1964) directed by Luis Bunuel and starring Catherine Deneuve.

[5] Although Tonie Marshall would not label herself as a feminist, many of her films involve an underlying fight against sexism, especially the later ones including Number One in which she overtly advocates gender equality in the professional sphere.

[12] The same year, she also joined the Fondation des femmes, founded in March 2016, which aims to raise funds for feminist organizations.

During the 2018 César Awards Ceremony and in association with the foundation, Tonie Marshall participated in the #MaintenantOnAgit movement as part of which she called diverse personalities to wear a white ribbon as a symbol of the struggle against violence against women.

[4][6] In an interview given to the French newspaper La Tribune in 2017 for the release of Number One, Marshall addressed her young female spectators, saying: "For the world to evolve, and to reach true modernity, 45-50% of women should get to decision-making professional positions in order to finally experience a different organization in work and business.

[9] In her most notable film, Venus Beauty Institute, Marshall touched on the theme of finding love from a female perspective, and how it can fundamentally be more difficult because of how it strays from the traditional dynamic of courtship.

[8] This expresses the vulnerabilities women endure when heavily committing to relationships, similar to much of Demy's work, including The Umbrellas of Cherbourg and The Young Girls of Rochefort.

"Tonie Marshall, réalisatrice de Numéro Une: "il faut des réseaux mixtes, pas uniquement féminins", Cadremploi.