In 2011, a Bolivian court sentenced seven members of a reclusive conservative Christian group to 25 years in prison for raping more than 100 women. The events loosely inspired Miriam Toews’ 2018 novel, Women Talking, which was shortlisted in the 2018 Governor General’s Awards, and its film adaptation by Sarah Polley.
Starring Rooney Mara, Claire Foy and Jessie Buckley, Women Talking focuses on eight women from an isolated religious community as they debate their options after discovering that they have been repeatedly drugged and raped by men in their colony.
Although the premise focuses on a group of women sitting and chatting, the situation is bigger than just them talking as it defines their position in not only their colony but in society in general. In their community, the woman’s role is purely familial – they serve as mothers and daughters, so they do not work or venture outside of the colony. They also have no power or say in the politics affecting the colony, so they are at the mercy of their men so domestic violence and abuse are seemingly tolerated.
At the beginning of Women Talking, rape is initially deemed an act of imagination or by ‘devils’ and ‘demons’ but, in reality, it is committed by men who drug their victims – the women often do not realise what has occurred until they see the physical evidence, and age or relations shockingly do not seem to matter. When these crimes go too far, this spurs the women to take action the only way they can – to vote albeit secretly for the future of the colony’s female members.
Needless to say, the women are emotionally conflicted as to their future in the colony. Mariche (Jessie Buckley) reluctantly wants to stay despite her abusive husband while the strong-willed Salome (Claire Foy) wants the perpetrators punished. Through Polley’s unapologetic screenplay, each member of the group vehemently defends and argues the benefits of either facing their attackers or leaving the colony altogether while stating that their fears concern more than just their personal safety.
Elements such as their faith and inexperience with the world outside of the colony, especially considering their lack of basic education – feeds their reluctance to leave the only home they have known. But should they choose to stay and fight, are they expected to remain submissive to the men and what about their children, seeing as they should be guiding and protecting them? Comprising a myriad of opinions, fears and hopes, the emotionally charged screenplay treats each perspective with nuance and is brilliantly delivered by the stellar cast.
While Buckley and Foy bring the heat, Rooney Mara’s Ona offers a diplomatic yet optimistic presence. Extra credit should go to Greta (Sheila McCarthy) and Agata (Judith Ivey), who find comfort and solace in prayer but realise that their faith may not be enough to protect their families. The cast is complemented by younger stars such as Michelle MacLeod and Kate Hallett, who bring an innocence and quiet awareness of the matter at hand.
Amid a muted colour palette, Hildur Guðnadóttir’s subtle score and Luc Montpellier’s lovely cinematography, Polley’s delicate, poignant and intimate direction complements the talented cast and powerful screenplay. The end result is an engrossing and brutally honest film about the hardships of women.
Rating: 
Director: Sarah Polley
Stars: Rooney Mara, Jessie Buckley, Claire Foy, Sheila McCarthy, Judith Ivey, Michelle MacLeod, Kate Hallett, Ben Whishaw, Frances McDormand
Runtime: 104 minutes
Country: USA
