THIS MOVIE is directed by Sarah Polley, produced by Frances McDormand, and featuring a cast of acclaimed and powerful actors, predominately women. It is based on the 2018 novel by Miriam Toews which was set in a Mennonite colony in Bolivia that did (does) exist. The movie, however, is in English, and there are no references to location or country–there don’t need to be. As for the temporal (and just as with Banshees of Inisherin) it could have taken place a century ago though the year is 2010.

My first reaction, because the movie does focus on intense debate among a group of women trying to reach a life-changing consensus (in part regarding justice), was that the style reminded me of the female version of the film classic, 12 Angry Men. Then I realized that style and theme are not the same.

Women Talking, shot in black and white, has been nominated for a number of Oscars. It is a drama.  It has no special effects and nothing blows up.  But it has suspense, passion, and tension–which are duly and alternately balanced by calm, tenderness and compassion. 

One of the most refreshing aspects of this movie is that despite the potential for glamour from a cast like this, you’re left with characters whose faces and bodies—aside from braided hair—are utterly unadorned, yet they glow with a beauty that is completely organic.

The roles of the elders among the woman provide some of the most potent screen moments, though their daughters are played by three contemporary powerhouses: Jesse Buckley, Rooney Mara, and Claire Foy. 

My sense is that there will be a lot of people talking about Women Talking by the time the Oscars are over. This is a very impressive film, and could spoil the Best-Picture run of Everything, Everywhere, All at Once. Some other Oscar surprises could come from this movie.

 

WRH