Based on the 2018 novel, Women talk, by Miriam Toews, this film focuses on a group of women living in an isolated Mennonite colony where they are oppressed and abused by the colony’s men. From Sarah Polley Women talk was released in 2022 and was one of the films screened at the 47th Toronto International Film Festival and was able to score 91% in the Tomato Meter. As the title suggests, this film focuses heavily on the voices of these women. In fact, the viewers may feel like they are following a secret conversation followed by some flashbacks. Due to the simple structure, the film allows many important themes to be emphasized in turn Women talk one of the most brilliant films about gender and discrimination.
This particular movie leaves the audience with a lot to think about and think about. Even if movies that lack little action, suspense, and adventure aren’t your general go-to watch, we recommend giving Women talk a chance.
The cast and the performances
An important reason why Women talk able to attract such positive feedback is its audience. With big names like Rooney Mara, Claire Foy and Jessie Buckley taking on some of the lead roles, the film can illustrate the different personalities of these very contrasting characters. Mara’s Ona is a calm and collected character who seems to be the sweetest woman ever. Regardless of the traumatic events she went through, Ona is still able to believe in love and hope. She also seems to be the most reasonable person in the group and one who is hungry for knowledge. On the other hand, Foy’s Salome is rebellious and stubborn and willing to slaughter anyone who harms her children. She is portrayed as making quick decisions without thinking about the consequences.
Interestingly, however, her violent nature is very justifiable. Buckley’s Mariche may come across as an anti-feminist character, but with her story revealed, it makes sense why she’s so reluctant to stand up to these abusers. The ability of these three actors to perfectly embody these contrasting personalities paves the way for these characters to be very real. This allows the viewers to connect with them irrespective of the gender of the viewers. Whether you are a man, a woman or a non-binary person, you will be able to understand where these women are coming from.
In addition, the film also features some brilliant young cast members. Michelle McLeod as Mejal adds into the lens of mental health as she visually portrays the difficulties of coping with traumatic events. Kate Hallett’s Autje is not only the film’s primary narrator, but also a character who represents the idea of being a witness and victim of these abuses. Liv McNeil as Staple is yet another strong child character.
The emotions
Visually depicting the emotions and feelings of these characters is not an easy task. In fact, when female characters are assigned emotions, more often than not it becomes romanticized. Fortunately the recent discourse around women’s anger has urged filmmakers to bring a realistic depiction of women’s emotions to the screen, like the icons of the past in films like Thelma and Louise. Women talk neither gives space nor allows women’s emotions to be sugared. The screaming, the crying and even the angry looks, all of this brings with it the internalized pain of these women. In addition, the film’s portrayal of contrasting characters allows it to view reactions to traumatic events from different perspectives.
Seeing Autje shift from laughing to staring at the grown women and trying to join her voice with the group; all of these show her character as a child forced to grow up. She is well aware of the depth of the conversations, but at the same time tries to find happiness in short moments with her friend Nietje.
When Salome is first introduced, we see her chasing a man with what appears to be a scythe, trying to cut him. This can be seen as a visual representation of her anger. We also see Melvin (August Winter), formerly Nettie, screaming after discovering she had been sexually assaulted. All of these women have their own way of illustrating frustration, pain, anger, trauma, and even grief. This also illustrates how pain is subjective. However, none of them resorted to the usual romanticized single-tear crying version, which allowed all these emotions to be realistically depicted.
Another fascinating element of Women talk is that it takes place in the year 2010. However, viewers may constantly assume it is a period piece as the story does not resemble a 21st century society. The lack of technology, the clothing, which includes similar long dresses for women and shirts and overalls for men, and the use of horses for transportation are some examples of how this film takes away the ‘modern’ element from the society we live in. In a way, all this allows the film to emphasize how patriarchal society is an archaic concept in which women are seen as a minor gender under the power of men. The way these men refer to the women as “crazy” and “delusional” is another reflection of how past powers have used “hysteria” as a problem women have.
Nevertheless, viewers can feel connected to these women’s stories. Even if we think we have surpassed such “old-fashioned” thoughts, there is still clear evidence of gender inequality. Women are still oppressed. Women continue to be sexually abused. Women are still called “crazy” or “hysterical”. And in some parts of the world, women are still denied the right to work, vote and education. So the whole concept of tricking viewers into thinking the movie is set in a previous century could be an attempt to remind viewers that we are still fighting for gender equality.