“This story begins before you were born,” a foreboding and harrowing opening that sets the stage for Sarah Polley’s fiercely intellectual and compelling film, Women Talking. Adapted from Miriam Toews’ novel of the same name, the film takes viewers through a journey of pain, power, and perseverance.
The story is a riveting multi-generational tale of a colony of Mennonite women – an ultraconservative religious community – and their plight to decide their futures. Illiterate, deeply devout, and isolated from the outside world, the women face a ghastly reality: the men in their colony are drugging them with cow tranquilizer and raping them in their sleep. Polley chooses to show the bruised and bloody aftermath of these dehumanizing assaults rather than the events themselves – a smart choice that is equally emotional and disturbing.
The women are told that supernatural forces are responsible for the violations, and that Satan himself is punishing them for their improprieties. The lies are never questioned. That is until two young girls witness one of the rapists fleeing from the scene. The discovery prompts an urgent meeting among a group of mothers, daughters, and wives to discuss the seemingly impossible options lying before them. Should they stay and forgive the men? Should they fight back? Or, should they leave and never look back?
Those are more options than what the colony’s leaders offered them. Forgiveness was the sole tune on the elder’s lips – and it would only leave them susceptible to further acts of abuse. Once the truth is unveiled, one of the mothers, Mariche (Jessie Buckley), pursues one of the culprits, ruthlessly slicing into him with a blade she grabs. It’s only after this act of violence that the police are called. And not as a means for protecting the women, but to shield the men from harm.
As with many communities and institutions throughout time, the men hold the power – they’re educated, responsible for establishing the rules, and, in this instance, utilize religion as a form of control. The fathers and husbands of the victims don’t fight back. They aren’t infuriated or repulsed. Instead, they weaponize fear, giving the women 48 hours to forgive their attackers. If they don’t choose forgiveness, they will be permanently banished from the colony and, therefore, forfeit their ability to enter the kingdom of heaven.
Despite, as expecting mother Ona (Rooney Mara) says, “your entire life, it didn’t matter what you thought,” they decide to introduce a system of democracy. The entire community of women take a vote, which ultimately ends in a stalemate. As a result, a smaller council of women is formed and tasked with making a decision for the community.
Gathered in a hayloft, Agata (Judith Ivey), her two daughters, Ona and Salome (Claire Foy), along with Greta (Sheila McCarthy) and her daughters Mariche and Mejal (Michelle McLeod) are among the esteemed families chosen to represent the community.
Despite the entire film being, as the title suggests, a group of women talking in a barn, Women Talking is breathtakingly personal and bold in its approach to a truth-inspired tale of sexual abuse. It’s exactly the type of painful and intimate masterpiece you’d want from the Stories We Tell director.
The Socratic dialogue between the women weaves together larger philosophical questions with deeply personal accounts and individual struggles that each character is facing. The mosaic of voices creates this beautifully dynamic microcosm, exploring socially pertinent themes that continue to plague society today.
Self-described as “an act of female imagination,” the main question explored in Women Talking – what is tolerable vs. what is not – appears to be a simple one on the surface. Yet, as each woman demonstrates, there are so many layers, so many considerations, behind each of their stories. And the film so eloquently shows that such impossible circumstances justify any number of reactions – whether that be rebellion or passivity.
The entire cast gives such tremendous performances. From Claire Foy’s powerful monologue about her willingness to go to great lengths to protect her daughter, including murder, if they choose to stay, to Sheila McCarthy’s gentle and guilt-ridden portrayal of a mother who silently withstood the abuse herself, every performance elicits such powerful emotions.
Hatred of what’s familiar and comfortable or fear of the unknown? Women Talking is a thought-provoking film that is punctuated by hope and humor. With a terrific score by Joker‘s Hildur Guðnadóttir, the film is uncompromising in its exploration of abuse and a refreshing dive into the complexities of human emotion. Shot in widescreen by Luc Montpellier, the grayed-out color scheme may lack warmth, but it punctuates the realities of oppression and allows viewers to focus on the rich stories of its main characters.
The film’s exploration of sexual abuse stems beyond just the characters’ circumstances, delving into larger existential questions that any woman trying to navigate patriarchal systems must face. Polley manages to strike a perfect balance between fear and hope, light and dark, infusing every painful moment with purpose.
Bringing Women Talking to the big screen is a crucial piece of continuing conversations around women’s rights. While this portrays a singular story, it’s a timely, relevant, and compassionate portrayal of the power of words and their ability to effect tangible change. It’s a theme that continues to hold true – whether it’s 1940 or 2022 – especially for those who have no voice, no power, and no rights over their own bodies.
Women Talking had its International Premiere in the Special Presentations section of Toronto International Film Film Festival 2022. The film will premiere in select theaters on December 2 before expanding further on December 25, 2022 courtesy of United Artists.
Director: Sarah Polley
Writer: Sarah Polley
Rated: PG-13
Runtime: 104m
Sarah Polley’s 'Women Talking' is a fiercely intellectual and compelling film
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GVN Rating 9
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