Rooney Mara

Claire Foy

Jessie Buckley

Judith Ivey

Ben Whishaw

Sheila McCarthy

Kate Hallett

Michelle McLeod

Liv McNeil

August Winter

Frances McDormand

Emily Mitchell

Kira Guloien

Shayla Brown

Eli Ham

Lochlan Ray Miller

Vivien Endicott Douglas

Nathaniel McParland

Marcus Craig

Will Bowes

Emily Drake

Caroline Gillis

Shannon Widdis

Jeremy Kleiner

Dede Gardner

Hildur Guðnadóttir

Andrea Kristof

Friday Myers

Lyn Lucibello

Christopher Donaldson

Emily Foley

Lisa Shamata

Peter Cosco

Luc Montpellier

Roslyn Kalloo

Sarah Polley

Shauna Llewellyn

Nigel James White

Robert LeBlanc

Sartaj Aulakh

Antoinette Julien

Larissa Palaszczuk

Jaime Donnelly

Mark Kueper

Joe S. Norris

R.J. Guha

Jeremy Pinard

Jennifer O'Connor

Andrea Luff

Ashley Rocha

Sean Bourdeau

Richard 'Rico' Emerson

Tom Comet

Joshua Jinchereau

Nasim Kosarnia

Stefan J. Marchand

Tyra Houghton

Brent J. Craig

R. Scott Phillips

Tyrin Alcott

William Scheffel

Patrick Krauter

Andrew Macklin

John Vrakking

Joe Schroeder

Jennifer Maillet

Christopher King

Krystin Hunter

Craig Scorgie

Joe Morrow

Mark DeSimone

Cameron Smith

David McCallum

Lou Solakofski

Ormangoren Rony

Jane Tattersall

Mark Schreiber

Stacy Campbell

Hong Kyoung Kim

Alex Bullick

Jennie Shea

John Buchan

Sonia Gemmiti

Duarte Carreiro

Jason Knight

Steven Cordeiro

Karleena Kelly

Jonathan Kovacs

Sam Lloyd

Janet Cormack

Thomas Barker

Mira Apci

Andrew Redekop

Peter Karmazsin

Phillip Tellez

Astrid Ho

Steve Quon

John Van Lieshout

David Milner

Mayuko Udea

Stephen Levitt

Alexa Anthony

Andrea Hay

Victor 'Chikko' Quon

Don Quan

Brad Pitt

Dana Howes

Arlene Halpenny-Heeley

Jason Ruder

Hardave Grewal

Patrick Mark

Layton Morrison

Quita Alfred

Agnes Lim

Kevin Chandoo

Anne Richardson

Kristie Paille

Carol Wong

Miriam Toews

Kevin Jung

Drama

Women Talking

Plan B Entertainment

Hear/Say Productions

Orion Pictures

United States of America

English

rape

based on novel or book

faith

illiteracy

bolivia

mennonites

religion

gang rape

teenage rape

meeting

duringcreditsstinger

woman director

sexual assault

abusive husband

2000s

pregnancy from rape

Manuel São Bento

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/women-talking-spoiler-free-review-lff-2022

"Women Talking holds a lovely score by Hildur Guðnadóttir and features truly mesmerizing performances - Claire Foy being a clear standout - with emotionally powerful monologues that can break even the least sensitive viewer.

Sarah Polley's exceptionally written and choreographed screenplay tremendously enriches the primary debate driven by the fully developed characters, where trauma, religion, acceptance, forgiveness, revenge, and power are some of the most memorable themes. The detail and complexity that go into each character demonstrate remarkable dedication and care.

Worthy of several (and inevitable) awards."

Rating: A-

Nate

A thought provoking and moving, truly remarkable film. Could have been made with such dryness but Sarah Polley's inventive direction and incredible script combine wonderfully. Wisely chooses to be both gutting and uplifting. The discussions brought up are fascinating and not a single line of dialogue is wasted. All delivered by an outstanding cast, with Jessie Buckley being the best in show in a nuanced and fierce performance. One of the best of the year.

CinemaSerf

I found this to be a curiously compelling drama that takes us to a fictional town where the women meet to decide how best to combat the brutality being routinely visited upon them. They must evaluate the pros and cons of staying and forgiving, of fighting back - or of just getting out of the place. Each position has some merit, and there is no clear cut solution as they convene in an hayloft and, with the help of their unassuming school teacher "August" (Ben Whishaw), come to this most difficult of decisions. Now I will admit to being somewhat confused as to exactly whom they were in fear of, and of just how they found themselves entirely alone whilst their husbands were all off in town trying to raise the ransom for those who inflicted the violence in the first place (though clearly not for the first time) and had somehow been apprehended and detained by the authorities. Frances McDormand's "Scarface" has endured this suffering for a long time, as has Judith Ivey's "Agata" but they take differing stances, leaving the younger women led by the fractious "Mariche" (Jessie Buckley), "Ona" (Rooney Mara) and a slightly underwhelming Claire Foy ("Salome") to make a choice that will apply to all the villagers - women and their children. Can they conclude their deliberations before their men folk return? On the face of to, their deliberations ought to have been fairly straightforward, but Sarah Polley introduces a layered approach to their conundrum. There is faith; there is fear - of the known and the unknown; there is also a degree of reluctance amongst the women to have an open and frank conversation and this frequently leads to a sharp and tetchy conversation that successfully heightens the drama and gradually develops some of the characters. It has an observational nature to it that I found quite enthralling - and despite not having enough context to quite appreciate the entire scenario, I did find this interesting to watch.

With this film, Sarah Polley joins the club of world-class directors.

In a film that could have been way too talky, there is humor and pathos; there is character development; there is thoughtful movement and brilliant timing. The great acting and directing make this a truly delightful, emotional film to watch.

If that weren't enough, it explores all the topics: religion, power, gender, rape, and virtual slavery.

Louisa Moore - Screen Zealots

**By: Louisa Moore / www.ScreenZealots.com**

Writer / director Sarah Polley brings novelist Miriam Toews‘ acclaimed novel to the screen in “Women Talking,” a story that, despite its secluded religious colony setting, has themes that ring true throughout America’s history of antiquated patriarchal systems. It’s a film about the strength of women and their ability to work together despite differing perspectives, opinions, and ideas about faith and life. This is a talky film with difficult subject matter, dialogue, and situations (it’s important to note that while the descriptions are vivid, no scenes of abuse are depicted onscreen), but it’s also a story that is hopeful and empowering.

The film takes place in a Mennonite colony where, after learning that they have been repeatedly drugged with cow anesthetic and raped while unconscious by the men in their colony, a group of women meet in a hayloft to discuss their options. They’ve settled on three: stay and fight, flee, or do nothing. None of the choices are easy, and no one can agree on the right answer to this unrelenting, endless cycle of sexual, physical and emotional abuse.

The film is one long conversation about what the women will choose to do as a collective response to the violence they have endured. Some are afraid to leave behind their sons and husbands. Others worry that any act of defiance will prevent them from entering heaven when they die. Their religious leaders have instructed them that if the men ask for forgiveness, it must be given. It’s heartbreaking to watch as many of these mothers, daughters, grandmothers, wives, and sisters debate the difficult and limited options available to them, with their faith playing such a strong role in their decisions.

I loved the film’s dark, vintage look and feel, courtesy of Luc Montpellier’s cinematography. His photography is the perfect complement to the project’s tone, with a muted palette and de-saturated colors that reflect the trauma and emotionally complex nature of the story.

The script is as complex as the performances, and the lead cast (including Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Ben Whishaw, August Winter, and Frances McDormand) is up to the challenge. There’s no clear standout acting-wise, as all of the cast give sophisticated turns. It’s at first confusing to keep each character and their relationships straight, especially since the film jumps right in and you have to be on your toes to keep up. Prior experience with the source material isn’t necessary, but may be helpful.

Polley’s adaptation of the novel doesn’t push boundaries as much as it could’ve, and the film is not quite as gutsy or fearless as some have claimed, but “Women Talking” is a bold statement on the subjugation of women, feminist ideals, and the way a society could be stronger if people would just come together and be willing to listen to each other.

'Women Talking' Wins Best Adapted Screenplay | 95th Oscars (2023)

Adapted Screenplay | Sarah Polley | Oscars95 Press Room Speech

Claire Foy, Jessie Buckley & Rooney Mara: Sarah Polley on casting WOMEN TALKING | TIFF 2023

How Can You Address Legitimate Fears? Extended Preview

Dir. Sarah Polley Interview

Silence

“What Are We Fighting For” Official Clip

Heaven

Scene at the Academy: Women Talking

“Ruth and Cheryl” Official Clip

“Doesn’t Matter What I Think” Official Clip

“Asking the Men to Leave” Official Clip

'Women Talking' with Claire Foy, Rooney Mara, Hildur Guðnadóttir & more

Directing Women Talking

“On Forgiveness” Official Clip

Official Clip

Official Trailer 2

An Unbreakable Bond: The Cast of Women Talking

LA Premiere Sizzle

Sarah Polley & Cast on Women Talking at NYFF60

Claire Foy, Ben Whishaw and Jessie Buckley introduce Women Talking at BFI London Film Festival 2022

Women Talking Red Carpet Highlights at  NYFF60

Sarah Polley, Claire Foy, Rooney Mara & More on Women Talking at NYFF60

Another Way Forward - A Filmmaker’s Vision

Official Trailer

TIFF Premiere Sizzle

WOMEN TALKING Q&A with Sarah Polley, Rooney Mara, Claire Foy, Jessie Buckley | TIFF 2022

Women Talking( 2022)

Do nothing. Stay and fight. Leave.

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A review by Manuel São Bento

Written by Manuel São Bento on Sat Oct 15 2022

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