Women Talking is inspired by real-life incidents that occurred in a Mennonite community in Bolivia: The colony’s female members were repeatedly drugged and raped in the middle of the night, then made to believe they had dreamed the attacks. Not that Polley ever shows how their world ends or what it becomes. Read: A #MeToo movie devoid of sensationalism “They’re literally talking about ending a world and creating a new one.” “I didn’t want to shy away from how tremendous the stakes were for them in having this conversation,” Polley said.
She told me last year that she wanted the ensemble film to look like “a faded postcard,” an artifact suggesting that the women (played by actors including Rooney Mara, Jessie Buckley, and Claire Foy) are already abandoning their circumstances. Polley lends the central conversation a visual gravitas normally reserved for epics: She shot the movie on the widest canvas possible using the same kind of equipment that captured Star Wars landscapes, and applied a muted color grading to every frame. But Women Talking, adapted by the writer-director Sarah Polley from Miriam Toews’s 2018 novel, is vibrant cinema. To some, this may sound like the kind of verbose material more fit for a stage play than a film. Is “fleeing” their community the same as “leaving” it? Would forcing themselves to forgive their violators equal true forgiveness? Often, the women nitpick one another’s words-why they’re chosen, how they’re used, and what they mean. They talk and talk and talk for hours, trying to reach a decision before the men who hurt them return the next day.
The youngest two braid each other’s hair. In a hayloft overlooking the soy fields, dirt roads, and rustic houses that make up their isolated religious colony, eight women gather for a discussion.
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