Sara Polli women talking will initiate conversations. The design of the film encourages discussion, asking questions that may have answers, as well as those for which the answers are not so easy. And because Polley’s adaptation of Miriam Toews’ novel of the same name applies so many layers to her discussions, it’s possible to take the dialogue delivered to this exuberant cast and apply it to issues not directly addressed in the film. . But it’s more of a thought experiment after absorbing this deep and introspective historical drama. women talking scheduled as part of the 2022 Toronto International Film Festival.
Although it looks like it might take place in frontier times on an American prairie, women talking in fact, it is set in 2010. After the women of a strict (but imaginary) Mennonite community begin to realize that they are repeatedly drugged and raped by male members of the religious cult, they meet privately in a lonely haystack. their options They think they have three: do nothing; stay and fight, or; leave the colony. Each choice has its complications and the women, all from different generations, with a unique playing skin, discuss, analyze and speculate on the moral and practical steps they should take after this horrible realization.
Talking Women is a showcase for performance
Sarah Polley continues to draw spectacular, powerful and richly human interpretations from her actors (her directorial debut in 2006 away from her got the most out of its protagonists and is among the best films released in this decade). The three realistic options presented at the women’s college are embodied by specific actors. Salmon angry and resentful of Claire Foy she wants to stay in the colony and fight the men who have wronged them, even though she knows they may fail. Her daughter was raped by one (or more) of the men, prompting Salmoe to attack a suspect with a scythe, leading to arrest … but nothing else.
Mariche (Jessie Buckley) is more inclined to leave the colony, mainly because she has an abusive relationship with Klaas. And Ona (Rooney Mara) often plays the devil’s advocate, provoking both Salomé and Mariche with logical questions that need to be answered if women reach a majority decision.
These women go so deep into their parts once women talking begins to examine her wounds, especially when these nuns begin to argue about the possibility of finding forgiveness for the men who attacked them. They are deeply religious characters who have a legitimate fear that turning against their men, or refusing to forgive them, means that women will spend eternal life in hell. Not forgiving someone for a crime seems more serious than the crime itself.
These are extremely complicated problems that women talking you hug and find yourself switching allegiances and changing your views depending on how loving Mara, Buckley, or Foy might be in a given scene. The latter could be the MVP of the film, due to the raw fire he injects into his performance. But honestly, the whole thing is great (although in her latest film, the ever-reliable Frances McDormand doesn’t have much to do, leaving the quorum early and only reappearing at the end of the game).
There are no easy answers to the questions of Women Talking
Sarah Polley’s adaptation is a merciless analysis of the human condition. It is an over-analysis of the status and condition of women, twisting and twisting legitimate moral issues to see if they resist scrutiny. In a minute, I could be on the side of a valid argument for women leaving this colony. How can they stay when there is no real protection for them against the fear of being attacked? But then the women take the conversation a step further and ask, “What kind of community will we create once we’re gone?” And who can come? Children? How old? What about the children we have to leave behind? These problems need solutions and are not easy to discover.
The women of women talking they fight for nothing less than the right to exist, for the free will to live in a just society. But before they rush into anything, they will discuss all possible bumps in the road in all directions. Curiously, the structure and execution of women talking recalled Sidney Lumet’s brilliant adaptation of Reginald Rose’s play 12 angry men. Both films take the necessary steps to show how difficult it can be for various personalities to reach a fair consensus. But where the protagonists of Lumet pleaded with a murderer accused, Polley’s opposed women fight for the right, the need and the desire to evolve, to improve their life situation and not to be victims of the status. Powerful stuff, in short.
Source: Cinemablend
