Women Talking
Women Talking
Orion Pictures, Plan B Entertainment, Hear/Say Productions
United Artists Releasing, Universal Pictures
Description
Do nothing. Stay and fight. Or leave. In 2010, the women of an isolated religious community grapple with reconciling a brutal reality with their faith.
December 2, 2022
Sarah Polley
Screenplay by
Sarah Polley
Based on
Women Talking by Miriam Toews
Produced by
Dede Gardner, Jeremy Kleiner and Frances McDormand
Starring
Rooney Mara as Ona Friesen
Claire Foy as Salome Friesen
Jessie Buckley as Mariche Loewen
Ben Whishaw as August Epp
Frances McDormand as Scarface Janz
Judith Ivey as Agata
Sheila McCarthy as Greta
Michelle McLeod as Mejal
Emily Mitchell as Miep Friesen
Liv McNeil as Nietje
Kate Hallett as Autje
August Winter as Nettie/Melvin
Kira Guloien as Anna
Shayla Brown as Helena
Cinematography
Luc Montpellier
Edited by
Roslyn Kalloo
Music by
Hildur Guðnadóttir
Writer/Director Sarah Polley discusses 'Women Talking'
In Women Talking, a group of women, many of whom disagree on essential things, have a conversation to figure out how they might move forward together to build a better world for themselves and their children.
Though the backstory behind the events in Women Talking is violent, the film is not. We never see the violence that the women have experienced. We see only short glimpses of the aftermath. Instead, we watch a community of women come together as they must decide, in a very short space of time, what their collective response will be.
When I read Miriam Toews’ book, it sunk deep into me, raising questions and thoughts about the world I live in that I had never articulated. Questions about forgiveness, faith, systems of power, trauma, healing, culpability, community, and self-determination. It also left me bewilderingly hopeful.
I imagined this film in the realm of a fable. While the story in the film is specific to a small religious community, I felt that it needed a large canvas, an epic scope through which to reflect the enormity and universality of the questions raised in the film. To this end, it felt imperative that the visual language of the film breathe and expand. I wanted to feel in every frame the endless potential and possibility contained in a conversation about how to remake a broken world.
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