Every generation of women in every culture and community reaches a point where they must ask themselves a question. Do we leave this situation, or do we stay and fight and try to change our place and its people? This is the question at the heart of Sarah Polley’s quietly earth-shattering film, Women Talking, a film that centers the “what do we do now?” question of female trauma.
There are precious few details about the location or the time period in which Women Talking takes place. A few small hints let us know that this is a present-day Mennonite community. The book on which is was based was written by Miriam Toews and published in 2018. That novel was itself inspired by actual events in a Bolivian community in 2011. But Polley opts to set her film in an undisclosed time and place, indicating that this could, in fact, be happening anytime and anywhere.
What matters is that this community has suffered. The women and girls have been brutalized, raped, and otherwise abused for many years. Often the women are drugged or otherwise incapacitated so that their memories of the attacks are incomplete and shadowy. This makes them easy targets for spiritual manipulation on top of the physical abuses they have endured. The men have spent years convincing the women that they were attacked by demons and devils in their sleep, facing punishments for not being righteous enough.
Rather than showing these violent acts, the story begins when the men have been caught and arrested. The women have two days before the men will be out on bail and return home. And in those two days, they face a monumental decision. Do they stay and do nothing? Stay and fight? Or do they leave?
(l-r.) Emily Mitchell stars as Miep, Claire Foy as Salome and Rooney Mara as Ona in director Sarah Polley’s film WOMEN TALKING An Orion Pictures Release
A film about a group of women having a discussion in a barn might not sound inherently cinematic. In fact, it would make an excellent stage play, certainly. But Sarah Polley’s assured direction and visual choices give the storyline the weight and heft it deserves. Women Talking is a work of art in all the ways a great film should be. Desaturated colors and low lighting add to the sense of timelessness and bring focus to the gravity of the decision the women must make. When balanced with outdoor scenes and bright, almost washed out sunlight, we as an audience get to catch our breath and take a break along with the characters.
Polley adapted the screenplay and her words come alive when spoken by the immensely talented ensemble. Everyone — especially Rooney Mara, Claire Foy, Jessie Buckley and Judith Ivey — are mesmerizing. It is impossible to pick a favorite or even a standout. Each actress gets the opportunity to shine as each explains their opinions, their experiences, their fears. Removed from the group is Scarface Janz (Frances McDormand) and even with much less screen time than the rest, her moments leave a huge impact on the atmosphere.
Ben Whishaw also shines as one of the only men of prominence. As August, he was the only man not arrested for the assaults. Instead, he serves as recorder, keeping minutes of the meeting. The women know this discussion needs to be recorded for themselves and for posterity and since they are illiterate, they entrust the task to August. Whishaw is quietly reliable, usually only speaking when spoken to. When August is asked to share his thoughts on a very significant matter, Whishaw’s monologue is so beautiful and so eloquently delivered, it’s impossible not to be moved by it.
Women Talking is not a film about female trauma. It is a film about moving forward through the trauma. We never see the violence acted out. We see the aftermath of it. It does not ignore what happened. That is always an important factor. None of this would be a story without the violence and trauma. But this is a story of surviving. Of moving on. And of deciding what comes next for ourselves and for our children. It is a film about ending cycles of abuse and daring to believe we can choose something better. I can’t think of anything more inherently cinematic than that.