Women Talking

Emerging from the #MeToo movement, 2022 brought the release of two films examining such topics. Whilst both set out to hold similar discussions, only one properly executed it. Women Talking is a heartfelt, authentic, and stirring conversation on the cyclical abuse of the patriarchy. Between the sharp screenplay, pensive score, and nuanced performances, it’s no surprise Women Talking transcends the talk of “Oscar bait” and cements itself as one of the better films to approach the topic of sexual abuse.

Director/Screenwriter Sarah Polley expertly completes the tough job of discussing such a sensitive subject and maintains the emotional impact she sets out to incite. Never gratuitous or exploitative, Women Talking is able to pack a punch and strike genuine empathy within the audience. Polley’s screenplay is incredibly poignant and reads like the inner monologue of a woman as she ruminates on all facets of living in a patriarchal society and offers insights into different perspectives on abuse. Polley even touches upon how the structure of religion upholds such behavior and, in turn, further tortures survivors. However, because the film is driven by conversation, it does suffer from a lull in the second act but is soon made up for in the third act with the successful resolution of its themes and powerful closing remarks.

Driving the impactful screenplay forward with striking lines of dialogue are the powerful performances within the film. Jessie Buckley plays the supporting Mariche ferociously. Despite her role as a seemingly “Devil’s Advocate,” her performance paired with Polley’s writing will have you emphatically sympathizing with her as she bares it all. In a role, quite the opposite of Buckley’s, the quiet and emotional August, played by Ben Whishaw, approaches the character with compassion and nuance. Although Women Talking contains an ensemble cast, the leading role, arguably, belongs to Rooney Mara’s Salome. The heart of the film and stand-in for the audience, Mara fulfills that duty and delivers a heartwrenching monologue that, no doubt, would have served as her Best Actress clip — had she been rightfully nominated, of course.

Women Talking’s ensemble cast in the barn where most of the film takes place as they discuss whether or not to flee from their community.

Hildur Guðnadóttir scores the film in a manner that aptly reflects the mindset of the women. Using strings for dramatic moments and acoustic brass for the quiet ones, Guðnadóttir’s music evokes as much emotion as the performances. The cinematography also assists in visually translating the mental turmoil the characters face with its gray and drab color grading. The film’s editing manages to tell the troubling stories of the women through substantial flashbacks that never break the flow of conversations and instead are enhanced as we jump back and forth between characters, creating tension and giving the dialogue a life of its own.

Women Talking is a film permeating with sorrow and loss, yet, Polley assures us that there is a light at the end of the tunnel by showcasing the power of community. Its Mennonite setting subverts audience expectations and emphasizes the message that these atrocities are ubiquitous and happen to women from all walks of life. Polley’s moving screenplay rises to the challenge of discussing abuse without exploitative imagery and juggles religion, womanhood, and strength. Along with its performances, this timeless, haunting tale of the perseverance of women in the face of adversity is sure to resonate with many.

Verdict: This piercing melodrama offers heart-breaking performances and a focused, well-written screenplay that result in it being a clear Nick Pick.