11 Sep TIFF REVIEW – ‘Women Talking’ is a raw, intimate, and utterly compelling chamber piece
It’s the simplest films that often hit you the hardest. It’s what occurs when a filmmaker is confident enough to trust the power of the written word and the strength of their cast to create something special. There’s no gimmick or twist. Just an impeccably crafted screenplay delivered by actors at the top of their craft and a director who knows how to get the best out of them. That’s precisely the case with Sarah Polley’s Women Talking; a raw, intimate, and utterly compelling chamber piece you won’t soon forget.
Aided by one of the finest ensemble casts of the year and a screenplay that’s one of the best of recent times, Polley delivers a masterclass of acting, writing, and directing. A heart-wrenching work that’s quietly devastating yet beautifully inspiring, Woman Talking is a pertinent portrait of female oppression and the power of community and kinship. It’s a film that soars on its simplicity, particularly when every element is so elegantly crafted.
Based on Miriam Toews’ 2018 novel of the same name, the film is set in a cloistered Mennonite community somewhere in rural America where obedient women are forced into submission by a deeply religious patriarchy that continues to turn a blind eye to their decades of suffering. For years, these women have been routinely drugged and sexually assaulted in their “sleep” by the men in their village. These actions are cruelly dismissed by the town’s elders as nothing more than the work of the devil and no repercussions are dealt out. The crimes are quietly swept under the rug and the cycle of violence merely resets.
After learning of the elders’ decision to head to the city to bail out several male villagers who were arrested for sexual assault including the rape of a four-year-old girl, a group of eight rightfully frustrated women meet in a hayloft to hold a discussion on three potential options; do nothing and offer forgiveness as their religion dictates, stay and fight for long-overdue change, or leave the colony forever and risk eternal damnation for “abandoning” the sanctity of their community. Overseen by stoic elders Agata (Judith Ivey) and Greta (Sheila McCarthy) and recorded by kindly schoolteacher August (Ben Whishaw), aka the only man these women trust, the group’s members each have their own thoughts on the best path forward.
Fuelled by the assault on her young daughter, Salome (Claire Foy) is ready to leave immediately. Her younger sister, Ona (Rooney Mara) is far more apprehensive, even with a baby in her womb as the result of a violent rape. After years of brutal beatings at the hand of her alcoholic husband, Mariche (Jessie Buckley) has reached the end of her tether too, but her devotion to her religion is complicating her willingness to leave. As passionate discussions unfold, a unanimous decision must be made and there are complicated pros and cons to every option that leaves the group without an easy answer.
Given the staggering pedigree of this cast, it should come as no surprise to learn there isn’t a weak link in this rock-solid chain. There are no true leads here, though awards season will likely dictate Mara comes the closest. It’s an ensemble piece in every sense of the word where each actor is given their moment to shine and picking a stand-out is near impossible. Foy and Buckley are both tremendously mesmerising as two women fittingly full of fiery rage and an intense desire to do anything to protect their children. Polley gives each a gripping monologue that will stop you cold in your tracks and give you an insight into the psyche of a woman pushed to the very edge of her tolerance. And, naturally, showcase why both actors are two of the best in the business right now. Watching these two fight it out for the Best Supporting Actress Oscar is going to kill me. Call it a tie, for the love of god.
Mara offers a more delicate, ethereal performance, yet one that still commands its own captivating power. Despite the horrors she’s both witnessed and experienced, Ona retains a sense of hope and optimism, making her the total antithesis of her enraged and beleaguered sister. Mara’s chemistry with Whishaw is just gorgeous, given the softly-spoken educator clearly has deep-seated feelings for Ona and longs to be the stable companion and protector she lacks. The ever-reliable Whishaw comes achingly close to stealing this film as he quietly processes his way through the plethora of complex emotions August is dealing with.
Polley’s screenplay is tackling some heady topics, but with the grace, intelligence, and respect needed to offer something with the right balance of introspection and extrospection. This may be a narrative focused on a very specific set of women in very specific circumstances, but the themes of broader female oppression are universal. It’s infuriating and heartbreaking to witness these women each recount their shocking experiences within this supposedly pious community where religion consistently clouds reality. Polley’s dialogue is so entrancing and eloquent, creating a genuine viewing experience that will touch your soul and stimulate your brain.
At just over 100 minutes, Polley keeps the pace moving briskly but wisely knows when to stop and allow moments to resonate with her audience. Frankly, I could have spent hours listening to these women wax lyrically and still wanted more. Polley also knows better than to focus on the violence the women have suffered through like a male director perhaps may have. It’s presented in quick flashbacks, but never for shock value or sensationalism. She wants her audience to see and hear the stories of these women and refuses to take the focus off their words and the uncompromising position they’re now in.
The one aspect of Women Talking that will likely prove divisive is Polley’s decision to shoot the film with a noticeably desaturated palette of sepia tones, greys, and blues that borders on black-and-white photography. Cinematographer Luc Montpellier drains practically every element of colour from each frame, which creates a decidedly drab aesthetic. It’s far from a pleasant visual experience and takes some time to adjust to. But it does allow Polley’s words and the actors’ performances to take centre stage, and part of me suspects it’s all entirely intentional. These women have no colour in their lives. Why should this film?
A brilliant and unnerving masterpiece that stands tall as one of the best films of the year, Women Talking is breathtaking, painful, and undeniably pertinent. It’s the fusion of sublime acting with perfect writing that’s at the very heart of the cinematic art form. It’s astonishingly good and destined to be a major player this awards season. Polley deftly taps into the power of female resilience and the strength of sisterhood, while shining a damning light on toxic masculinity and religious dogma. This is an impeccable piece of cinema and one you cannot possibly miss.
Distributor: United Artists Releasing/Universal Pictures
Cast: Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Ben Whishaw, Frances McDormand, Sheila McCarthy, Michelle McLeod, Kate Hallett, Liv McNeil, August Winter, Kira Guloien, Shayla Brown, Vivien Endicott-Douglas
Director: Sarah Polley
Producers: Dede Gardner, Jeremy Kleiner, Frances McDormand
Screenplay: Sarah Polley
Cinematography: Luc Montpellier
Production Design: Peter Cosco
Costume Design: Quita Alfred
Music: Hildur Guðnadóttir
Editor: Christopher Donaldson, Roslyn Kalloo
Running Time: 104 minutes
Release Date: 2nd December 2022 (US), 16th February 2022 (Australia)