You often wish repeat Polley collaborator Luc Montpellier’s cinematography were also a match for all the verbal sumptuousness on display. In one of the movie’s most heartrending moments, one such acknowledgment gets delivered by Greta, who profusely apologizes to Mariche for forcing her daughter repeatedly to forgive her abusive husband. As old-worldly wisdom pours out of the pair, the film’s text aptly recognizes the mistakes of the former generation, too. Leading the group of youngsters (among them is Michelle McLeod’s no-nonsense smoker Mejal) are two matriarchs: Mariche’s witty mother Greta (Sheila McCarthy) and Judith Ivey’s soulful Agata, the parent of Ona and Salome. Elsewhere, non-binary actor August Winter’s character Melvin offers a thoughtful shade of depth in discussions about gender and acceptance. Her character is perhaps the most complicated one too, stuck between a sense of resignation and concealed desire to burn it all down. You see it in Foy’s eyes so vividly that you believe she means business.Īs Mariche, who’s long been suffering in her cruel husband’s hands, Jessie Buckley portrays another one of the clan’s most memorable women. She could even kill to avenge what’s been done to her. She’d rather attack and deal with the wrath of God later.
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Her fiery sister Salome (Claire Foy, who runs away with the movie in a performance of burning rage), on the other hand, wants to hear none of it.
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Rooney Mara to Star in Audrey Hepburn Biopic From Luca Guadagnino at AppleĪmazingly enough, Ona ethereally lives in the skin of her religion’s pacifist ideals, articulating her desire to comprehend her attacker’s crime, just so she could learn one day to pity him and, with some distance, maybe even forgive him on her own terms.
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Temporary arrests are made soon after, leaving the women with one task they had to realize, quickly, before the men return: how to bounce back from the immeasurable violence and terror they’ve endured. But the women finally get a fighting chance when two of the colony’s children witness a rapist fleeing the scene. They were told it’s their crazy imagination one minute, or that they’ve been raped by ghosts or demons the next. The women couldn’t protest, as the slightest bit of complaint would register as attention-seeking behavior. We learn that for far too long, women of this community - horrifyingly, even underage girls - have been drugged and raped by the men, often in incest.
The pieces fall into place quickly, with clever clues establishing the era presented here as contemporary times. Part of a Mennonite colony, Ona woundedly calls out to her mom in a painful daze, with the voiceover muttering something about her colony’s women often waking up like this, somehow feeling on their bodies predatory hands that once were but are no longer there. Except, we have already laid eyes on an agonizing image at that point, with the traditionally garbed Ona (an angelic Rooney Mara) awakening from her deep sleep with dried blood all over her thighs. Rooney Mara, Claire Foy Join Frances McDormand in Sarah Polley’s ‘Women Talking’īridging their discussions is the innocent voice of a young narrator, Autje (first-timer Kate Hallett) sounding so unadulterated that one could almost swear we’re about to hear a sweet little bedtime fable from her.
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