The same week it debuted at a theater near me.
My schedule was already packed.
Polley adapts Miriam Toews's 2018 novel, which was loosely based on a grisly crime spree at the Mennonite Manitoba Colony in Bolivia. Between 2005-09, numerous women were raped at night by men armed with cow tranquilizers. The elders dismissed them as "wild female imagination," or the work of ghosts, until the very real and earthly perpetrators were caught. Ten men were convicted, including the doctor who supplied the tranquilizers, and most were sentenced to 25 years. The story actually takes place in another, unnamed Mennonite colony (Molotschna in the novel), but the backstory is the same.
In Toews's "reaction through fiction," the men head to town to post bail for the attackers. The women are given two days to forgive their attackers, lest they be excommunicated. A few of them meet at a barn to debate whether they 1.) do nothing, 2.) stay and fight, or 3.) leave. Since the women can't read or write, schoolteacher August (Ben Whishaw) is asked by his childhood friend Ona (Rooney Mara), whose attack left her pregnant, to record their meeting.
A few highlights. Scarface Janz (Frances McDormand, one of the producers) sticks to the first option. Salome (Claire Foy), who tried to murder her daughter's attacker with a sickle, advocates for the second. Mariche (Jessie Buckley), whose husband is abusive, votes for the third, though she struggles whether to forgive them or not. August and Ona rekindle their friendship. They debate, argue and even find time to laugh. Time is of the essence, especially when Mariche's aforementioned husband, Klaas (Eli Ham), comes to town.
When I read the novel, I thought that its main plot would translate exceptionally well to the stage. Thankfully, it also translates exceptionally well to the screen. Its ensemble holds your attention as they discuss the merits of their options. Salome, for example, wants to fight, but is also scared of her capacity for violence. Those that vote to leave know how badly they have it there. But how would they know what's out there without a map? You'll understand their viewpoints rather well. The film expands beyond the barn for flashbacks; the aftermaths of these attacks are appropriately shocking.
What else can I say about the cast? Plenty. Mariche makes quite an impression as she snipes at her fellow attendees. Her mocking her sister Mejal's (Michelle McLeod) PTSD episode isn't endearing. But we still understand her pent-up rage soon enough. It's quite a strong moment when her mother, Greta (Sheila McCarthy), apologizes to her for making her forgive Klaas. It's also quite moving when the other elder present, Agata (Judith Ivey), addresses another victim, a trans man named Melvin (August Winter), by his name. Ona and August's relationship is endearing, and their final farewell was a bit devastating. Salome's fury and personal conflicts are quite captivating. The youngest members, Autje and Neitje (Kate Hallet and Liv McNeil), provide some great comic relief as they fool around during the meeting.
Marc Montpellier's near-grayscale cinematography fits the grim subject matter. However, its second to last shot, where we see the women's road ahead, is uplifting. I feel similarly about Hildur Gudnadottir's score. For example, the main guitar theme is soothing, while its opening chimes are creepy. There's also some great production and costume design to create the film's Mennonite colony. I'd bet the only reason they weren't nominated for Oscars was because the competition was strong.
Women Talking's strong debate is argued by a compelling cast of characters. They'll keep you invested for each of its 104 minutes. It's coming to physical media on Tuesday. So, if it's still not playing near you or if you lack streaming, that's another option. But any option is fine to see this powerful moral drama.
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