After a decade away from film, Oscar-nominated writer/director Sarah Polley makes a triumphant return with women talk. Adapted from Canadian author Miriam Toews’ novel of the same name, women talk features a star-studded cast that includes Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Frances McDormand and Ben Whishaw. The film had its international premiere at the Toronto International Film Festival 2022 and marked a sort of homecoming for the Canadian author, whose previous feature films, away from her (2006) and Take this waltz (2011), also premiered at the renowned festival.
women talk tells the all-too-real story of a group of women in a Mennonite colony who endure ongoing sexual and physical abuse by their husbands, brothers, and male neighbors (notably their drugged, raped, and gas-fired). When the men temporarily leave the colony, the women take advantage of their absence and gather in a hayloft to discuss their options: do nothing, stay and fight, or leave. Everyone in attendance – ranging in age from young children to seniors (unfortunately the men don’t discriminate) – gave their own testimonials, perspectives and answers to the problem. As the women discuss what it means to leave and what it means to stay and fight, it becomes clear that no solution is as simple as it seems at first. Emotion and tension run high as the women fervently try to work together to determine the right course of action before the men return.
With this film, Polley, who has double duties as a screenwriter and director, once again proves why she is one of the greatest filmmakers of our time. No stone is left unused women talk because each character argues for a different solution. Some fear the uncertainty associated with leaving and starting over, while some are unsure whether staying and, more specifically, fighting is in line with their personal and religious beliefs. They are, of course, all angry and annoyed by the circumstances in which they were born. Complexity, both in feel and choice, is at the fore, and it is with this inherent tension that the film dares – yes begs – audiences to tackle the pervasive problem that countless women face every day.
One of the best movies at TIFF 2022
women talk, of course, many women are talking. Polley has gathered here the best of the best in terms of actors working today, all delivering emotionally complex and powerful performances. As Ona, who is pregnant with her rapist’s child, Mara is perfectly contained, acting somewhat like the voice of the group’s reason, and insisting that every solution is thoroughly thought through before a decision is made. taken. This is not to say that she is unaffected; it’s only when the group decides what to do that she finally bursts into tears. It’s a revealing moment that further cements Mara’s reputation as a once-in-a-lifetime actress.
It’s Buckley and Foy who have the showier roles in women talk. The first, as Mariche, starts off as hostile and admonishes the women for the idea of leaving. Of course, it later becomes clear that her anger has been misdirected, and it is with great emotional agility, especially in the latter act, that Buckley translates the core of her character. Meanwhile, Foy, as Ona’s sister Salome, is furious and chooses to remain alone because she wants to kill the men who rape. Foy is indeed the acting MVP of women talkand her impassioned speech about why she feels what she feels will leave you speechless—both in awe of Foy’s performance and disgust at what she is saying.
In addition to the performances, women talk is also a technical crown on the work. Cinematographer Luc Montpellier, who has DP-ed all of Polley’s feature films to date, does an outstanding job here, using a desaturated color palette and dynamic camera movements and angles to amplify the emotional stakes. Peter Cosco’s production design is as captivating as it is transporting. And the music of Hildur Guðnadóttir underlines women talk‘s notions of hope and possibility, which help to elevate the story and empower the women, possibly for the first time in their lives, to make choices.
in the end, women talk is undoubtedly one of the best films screened at TIFF this year, possibly even overall in 2022. In a perfect world, especially as we enter awards season, Polley’s film would be showered with gold. In reality, Variety already predicts Oscar gold for Polley, which would make her the third consecutive female director to win. The annoying definition of ‘an Oscar movie’, as outlined by The Hollywood Reportercan be an obstacle.
Separated from awards, of course, women talk is nevertheless a film that everyone should see. While it aims to tell a female-focused story from the perspective of an ensemble of female characters, it isn’t necessarily a female-only film. It is indeed for everyone. Just as Whishaw’s August, the colony’s schoolteacher, is paramount in taking notes at the women’s gathering and educating the boys in his class, men—good men, in the real world—are responsible for participating. making the solution. Polley’s film keeps space and most importantly urges everyone in the audience to bend over and face the truth, without filter or metaphor.