‘Women Talking’ Is Toronto’s Buzziest, Most Devastating Film

An adaptation of Miriam Toews’ 2018 novel of the same name, itself inspired by real events, Women talking is a story of terror and tyranny, false remembrance The story of the maid—Minimize the fact that it doesn’t take place in a backward world but our own. Set in a crowded Mennonite community besieged by male monstrosities, writer/director Sarah Polley’s first work of fiction since 2011 Dance this Walts is a suspenseful drama about freedom, faith, abuse, autonomy, responsibility, and survival, all resolved with patience and bitterness. There is weight to its stillness, its heartbreak in its shared suffering, and its hope in its belief in the power of transformation and, in the human capacity for action.

Collaboration with Rooney Mara, Claire Foy, Jessie Buckley and Frances McDormandPolley does not provide context for Women talkingtime period or geography, allowing her to identify the unique specifics of the scenario while at the same time positioning the document as representing larger contemporary concerns. Fueled by the narration of a young girl with an unborn child, the film deals with a Mennonite enclave at a time of critical disaster: the rape of a four-year-old girl by a male cast member. young. This is narrated with shrill flashes of lightning, including a scene where the child’s mother Salome (Foy) is attempting brutal revenge against the perpetrator, and verbally concludes that the men have departed. to the city to save the accused children. Meanwhile, the women of this population vote on whether to stay, fight or flee. When no consensus could be reached, a selected group gathered in a haystack in the barn to determine the best course of action.

Title of Women talking not misleading; Its drama is primarily dialogue in nature. The woman’s 12 angry men-esque The debate is led by the optimistic and open-minded Ona (Rooney Mara), the angry Salome, and the bitter and fearful Mariche (Buckley), and it’s complicated by everyone’s history of systematic submission. None of these women could read or write — or had been educated about (or exposed to) the wider world. Instead, they have been indoctrinated to believe that reaching the Kingdom of Heaven is their primary goal and can only be achieved by obeying the male church elders. For all intents and purposes, they were born and raised to remain docile, ignorant, and docile. Even more horrifying, they were taught to grin and endure waking up in the morning with bruises all over their bodies and blood dripping from underneath their nightgowns from being raped with tranquilizers. Generation after generation, this is their fate, thus making Salome’s tragedy – and the resulting uprising – a traumatic break in the status quo.

Using an ash color palette that reflects the desolation of her characters — all wearing prairie skirts and headscarves like resident 18order century — Polley handles these considerations with intense empathy, her camera capturing anguish and anger with close-ups and graceful panning. Like a knife in the body, flashbacks suddenly enter the main proceedings and then disappear quickly, suggesting how past transgressions continue to perpetuate. For now, the focus remains on the pros and cons of their options, while August (Ben Whishaw) —A failed farmer teacher whose mother was exiled for speaking out against the sexist drive of the community — handwritten meeting minutes. With the not-so-distant return of the men hanging over their heads, and the devout Scarface Janz (McDormand, in a near-silent background) refusing to participate in this potential heretical rebellion, tension straight start up and only escalate from there.

Women talkingWomen’s primary concern is how women find their voices when they are denied opportunities, and Polley tackles the issue from the unique perspective of her protagonists, who have Their only frame of reference is their religious beliefs and personal experiences. The question is not whether Ona and company should leave (which is obvious) but, how can they come to that conclusion after a lifetime of brainwashing and trapped by suspicion. rituals and theological dogmas, as well as physical and sexual violence. Polley’s script investigates that process in precise detail, allowing Salome to articulate her rampage (which she would inevitably develop into murder if she stayed); Mariche to express their fear of the consequences of leaving their home; Be able to break down and analyze the costs and benefits of their options; and Ona’s mother Agata (Judith Ivey) to provide guidance and advice and Mariche’s mother Greta (Sheila McCarthy) to impart wisdom through the metaphors of her horses.

The question is not whether Ona and company should leave (which is obvious) but, how can they come to that conclusion after a lifetime of brainwashing and trapped by suspicion. rituals and theological dogmas, as well as physical and sexual violence.

There are more wounded souls scattered everywhere Women talking, which includes both young daughters braiding their hair together in a symbolic gesture of kinship, as well as transgender teen Melvin (August Winter), the victim of unimaginable incest. All are scarred by the brutality and domination of their male colleagues, who remain invisible – a creative decision that leaves them ghosted, which is fitting when they inadvertently place the blame. for his rape is ghost. “What follows is an act of the female imagination” reads an original title card, heralding women’s struggle to envision an independent future for which they have no role model, and thus that’s unlikely to be achievable — or, moreover, enviable, even compared to their bleak present circumstances.

Though its most moving performance comes from the courtesy of Whishaw as a man torn between selfless compassion and love for Ona, Women talking is a showcase for its leading women, with Mara being the axis of influence that the rest – and in particular, a heartbroken Buckley and angry Foy – revolve around. As they follow the stage, they present marginalized individuals with fierce souls, pinpointing the grief and anxiety that threatens to keep them in figurative chains, and determination and heart Their filial piety helped them achieve deliverance (which is beautifully visualized by Ona teaching her compatriots how to use their fists and thumbs to locate the Southern Cross). Polley gives her populations ample space to navigate emotionally and intellectually in their predicament, conjuring up a wonderful collection of twists and turns that are simultaneously available and volatile, desperate and Determined. Together, they create a portrait of the birth of feminist agency and solidarity that resonates with urgent times.

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