WOMEN TALKING
Cert 15 In cinemas now
Oscar-nominated for both Best Picture and Best Adapted Screenplay, Sarah Polley’s clever drama brings the # MeToo debate to an agrarian religious community in North America.
As the title suggests, this is a wordy adaptation of Miriam Toews’ acclaimed 2018 novel.
Inspired by a real incident in a Mennonite community in Bolivia in the early 2000s, the story begins with the women and young girls of the colony experiencing a sudden political awakening.
For years, they have woken up bloodied in their beds, only to be told by the male elders that they have been victims of Satanic visions.
After a string of mysterious pregnancies and STDs and the capture of two prowlers, they realise they have been systematically drugged and raped.
After one of the abused women, Salome (Claire Foy), sets upon her attackers with a pair of shears, the elders take the rapists to the nearest police station for their safety.
When the rest of the menfolk leave the colony to post bail, the women elect eight representatives to decide their next course of action.
From here, most of the action is restricted to the loft of a barn, where the women consider two options – to stay and fight for their rights or leave to form their own colony.
As they have been denied access to education, Ben Whishaw’s enlightened school teacher (and the film’s only man) is taking the minutes.
Salome and Marchice (Jessie Buckley) can barely contain their fury, Ona (Rooney Mara) and Agata (Judith Ivey) are more measured, while Janz (Frances McDormand) supports the patriachy.
It’s a little theatrical but the debates about sex, biology, education and religion are slyly topical and beautifully written. It’s a powerful film fired by its language and righteous anger.