Sarah Polley’s Women Talking was the first film I saw during the 2022 Toronto International Film Festival.
Days later, the film is still top of my mind.
Based on a novel by Miriam Toews of the same name, the story follows a group of women from a tight-knit religious community as they are put in a position to balance grappling the horrific reality of their lives while keeping with their faith. Having uncovered multiple counts of sexual abuse within their Mennonite community, they gather together to decide what they must do next. Time is not on their side, and neither is anyone else.
The film was one of our top 10 must-watch films at the festival, and frankly, we are very happy we did so. It definitely deserves the attention of audiences.
A riveting screenplay, paired with crisp direction
The film very unapologetically and fearlessly tackles the subject of abuse, not pausing for a second to be anything but direct. Polley’s screenplay is sharp, edgy, and clear. From the very beginning of the film, you are brought right into the remote community and thrown into the horrors they are facing.
You are quickly introduced to the characters that would be the core of the “talks”, with each of their journey’s very shockingly displayed. The film doesn’t dwell on the rapes, but very starkly portrays them through vivid flashbacks of the horror’s each of the women felt when they thought something was wrong with them. Getting to the point actually helps establish the pain each woman feels, which helps you understand them better when they actually debate their choices.
The dialogues between the women felt like an actual conversation rather than open banter. They were raw despite the delicate nature of each woman, intellectual despite the men not giving them a chance to learn, and very spiritual thanks to the faith that the women have. All these captured the essence of who the women are. These aspects play a major role in the discussions as they juggle confronting the reality they wish to change. Polley captures all of this beautifully, frame to frame.

Couldn’t ask for a better cast
Whether you are reflecting on firecrackers like Mariche (Jessie Buckley) or Salome (Claire Foy), or the calm-and-collected ones like Greta (Sheila McCarthy) and Ona (Rooney Mara), the story is a blend of so many interesting, thought-provoking and invigorating characters. The differences play a major part in the discussions, and actually invite diverse conversation points which plays directly into the larger narrative. Then you have the glitter of hope in August (Ben Whishaw), of what a man can be to these women.
Buckley and Foy bring forward characters that test the boundaries of what these women define as alright, giving gripping performances as defiant women. McCarthy brings to the table a wiser, soft-spoken woman who, even while recounting the horrors she has faced, manages to stay calm and collected. Mara’s performance was surprising, and anchoring. She brought forward such an opposite character to Buckley and Foy that you often felt anger towards her on why she wasn’t more angry. While I was disappointed by how much presence we got from Frances McDormand’s Janz, I understand the role she played in the film. The unwavering pillar of the communities beliefs, she anchored in the status quo that the others wanted to challenge. It takes a powerhouse to play the character that champions the firm ground, and McDormand is definitely that.
With all this said, I for one really appreciated those playing the younger characters. As I mentioned, Polley spotlights every detail without apology. Even the children and teenagers were not spared by the savages of their village. Polley captured their innocence and naivety so clearly that looking at them on screen you just wanted to cry for them, feel for them. Talents like Shayla Brown, Kate Hallett, Vivien Endicott Douglas, Liv McNeil, August Winter and Michelle McLeod absolutely stun in this film. Their performances are vivid and just brilliant. For some of them this is their first film, and I can promise you, we will see them shine again in future projects very soon.
Women Talking is a basket of creative efforts
While Polley’s direction and the casts performances certainly play a role in the film coming together, the background elements actually set the foundation for this film to work.
Luc Montpellier’s cinematography accurately captures the eerie nature of the situation and bleak nature of their surroundings. Hildur Guðnadóttir’s score is beyond wonderful. It becomes a bridge between what is happening on screen and what emotions we must feel. Peter Cosco’s production design is delicate, yet surprisingly empowering, giving these women a chance to speak out in what felt like a safe space.
Then of course there is the editing. Christopher Donaldson and Rosyln Kalloo have captured Polley’s vision in every frame. I felt the editing was done just right to capture every semblance of emotion possible, without giving the film too many awkward breaks.
∗∗∗∗∗∗∗∗∗∗
Whether you find a hidden message in this film or not, I think that is down to the viewer. I for one saw a film where women had every right and dignity taken from their lives, evolve to become defiant and powerful. That is powerful stuff.
From the films that I have had the pleasure of seeing at the festival, Women Talking has left a lasting impression that I am not going to forget anytime soon. As a film, its a work of art, and as a conversation piece it is critical and important. It is a vehicle for powerful debates and a mind-stimulating force to be reckoned with.
Sarah Polley is a gift to Canadian filmmaking, and this film is proof of that. Now someone give her an Academy Award already.
Women Talking plays as part of the Special Presentations programme at the 47th Toronto International Film Festival. Visit TIFF’s website HERE for all the details on screenings.
Cover Image: Still from Women Talking | Courtesy of TIFF