Die Aussprache

I'll admit up front that this is likely going to be an unpopular review and a decidedly minority opinion, but I have to be honest about my feelings. Writer-director Sarah Polley's adaptation of Miriam Toews's novel of the same name may come from a place of noble intent, and it may feature one of the year's finest acting ensembles, but its overall treatment is a major misfire. This fact-based story about a group of women from a conservative religious colony who meet to discuss how to respond to a series of sexual assaults in their community unfolds in a circular, wooden, stagey fashion that plays more like a university discussion group than a work of dramatic cinema. The ideas raised in these dialogues - ranging from activism to passivity to intergender relations to forgiveness to faith and salvation - are certainly lofty topics for consideration and deliberation, especially in terms of how they might be addressed in the forging of a new and better world. But their handling here is so forced and inauthentic that the entire exercise lacks believability and does little to foster a sense of concerted viewer engagement. And, as the narrative drones on and on, it becomes tediously dull, with one of the characters herself astutely observing that "This is very, very boring" (well said, if a bit ironic). What's more, a number of incidents and themes seemingly arise out of nowhere and aren't always fully resolved, making one wonder why they were included in the first place. Even more disappointing is the fact that the film features so many fine portrayals by performers who are given such stilted material to work with, including Jessie Buckley, Claire Foy, Judith Ivey, Sheila McCarthy, Ben Whishaw and Frances McDormand (whose appearance is more of an afterthought than anything else). Director Polley has certainly made a name for herself with such excellent past works as "Away From Her" (2006), but her reach has certainly exceeded her grasp with this undertaking, one that has much to say but ultimately says so little.

This movie needs to be seen in the view of what domestic abuse victims suffer through in their decision process to stay, fight, or leave. Taken in that sense, the conflicts that each woman and the group experience make sense. If you expect a dramatic story within the construct (that of an ultra-conservative fundamentalist community, where the women are kept illiterate and totally subjugated to the men), well then it won't work. These women were much too intelligent to be illiterate, and the men would have been much more a factor in the outcome.

The movie is really about the heartbreaking choices abused women are faced with. Stripped out of the setting and set up, it does work. Suspend disbelief and you will be moved.

A group of women from a small religious community discuss various violent acts, beatings and rape.

It is a heavy going watch, a film that manages to intrigue, sicken and inform. Some of the content, some of what you'll hear will genuinely lower your opinion on human nature, the harrowing acts some people can commit.

The best element for me, the acting, if I had to pick out a standout, I'd argue Claire Foy did a supreme job, but the likes of Ben Wishaw and Frances McDormand were excellent also.

I feel like it plays out like a stage play, I can only imagine how powerful some of the content would play out in a small, intimate theatre, one or two bits maybe get a little lost in translation onto the big screen.

I've read some very impressive reviews about this film, some people have spoken candidly about first hand experience of violence, that has clearly given them a different perspective on the film.

At times I felt a little bit like an outsider looking in, and sometimes I couldn't relate, or get into it, some of the sequences felt just a tad slow, some threads were explored but not tied up, I suppose that's just normal in such circumstances.

It's definitely a powerful time, and one that's very, very relevant in today's day and age, a time where women's rights seem to be being downplayed somewhat.

I would recommend it.

7/10.

The fact that the movie is set in 2010 and is based on a true story is not easy to believe. The way things unfold, one would think it is at least in the 50s at the latest for the most part. But the way some cults work, and how people fall for them and spend generations in them is a sad truth of our world. Even though it can be technically called a chamber piece, it doesn't feel like one. There's so much in writing and directing that adds novelty to the story which is not exactly something groundbreaking. There are little moments throughout the film that makes the situation more weird and real at the same time that most films don't do.

In 2010, the women of a Mennonite community must come together to make a decision following the discovery of a terrible secret of the men in their community. There are three options: do nothing, stay and fight, or leave. Great. The incipit is undoubtedly as interesting as it is a thriving ground for opening an important dialogue on concepts such as faith, misogyny, and feminism.

While it is an important film, and an important issue, I found the script to be profoundly insincere and artificial, in dialogue that is more like a skein of feminist slogans piled one after another. The way the characters express themselves, interact, and behave is mechanical and relegated to the stereotype of women they represent. To the most controversial character, McDormand's, I was sorry that, even in her being at fault, no space was left.

On a technical level there is nothing particularly significant; the coloring is interesting, if not particularly aesthetic. The performances of course were good, as the cast is mostly made up of great actresses.

Women Talking is commendable in its intended message, but otherwise it seems a wasted opportunity of cast as much as of reference material.