Women Talking

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-

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.

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.