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8

TaogodFeb 9, 2023

I gave this movie an 8 despite some short comings because it was very well directed and performed. It was based on an excellent book by Miriam Toews and because of time constraints some of the story line may have been confusing to someI gave this movie an 8 despite some short comings because it was very well directed and performed. It was based on an excellent book by Miriam Toews and because of time constraints some of the story line may have been confusing to some viewers who had not read the book. Also Polley took some liberties in the script to have the women's speech a little more sophisticated than that of the book's. The leads provided great performances, Polley's directing was excellent and the movie required some intellectual involvement by the audience, something definitely lacking in most movies made the last few decades.… Expand

1 of 1 users found this helpful10

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10

dunnyoneDec 5, 2022

There were so many women talking in this film. Tall women, short women, women big and small. Every so often, a man talks but then it quickly swaps back to women talking. 10/10 would watch women speaking to each other again.

3 of 6 users found this helpful33

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5

Brent_MarchantDec 30, 2022

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 comeI’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, a project that might have been more accurately titled "Women Endlessly Talking Things to Death." 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.… Expand

2 of 4 users found this helpful22

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4

everettJan 10, 2023

If you haven't read the book or read about the premise, you'll be confused for quite some time re: what these women are talking about. This gives the film an airlessness that takes away the potential power of the dialogue and winds up feelingIf you haven't read the book or read about the premise, you'll be confused for quite some time re: what these women are talking about. This gives the film an airlessness that takes away the potential power of the dialogue and winds up feeling pretentious. Then, when we finally are given the backstory, we're also finding out that these women who are considering leaving will be leaving behind their own sons and/or other males that they love. The idea that this wouldn't have been a huge problem from the start winds up adding to the sense that this film is ultimately a stagey set-up with a premise that lacks credibility: A vehicle for some excellent performances that just don't feel earned by everything around them.… Expand

1 of 2 users found this helpful11

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7

JLuis_001Jan 2, 2023

This film is a debate, a sort of 12 Angry Men, but as its title says, now it's the women who have the voice, although its predicament is about something much more serious.

The structure of the film is entirely made to favor dialogue, so theThis film is a debate, a sort of 12 Angry Men, but as its title says, now it's the women who have the voice, although its predicament is about something much more serious.

The structure of the film is entirely made to favor dialogue, so the performances and the level of dialogue are the strong points of this story. And boy, does this film have a top-notch cast.

The weakness of this film lies in the fact that this very structure turns the whole narrative exercise into something too contrived to feel organic. Not that the nature of the debate is a bad thing, but at its core the cinematic essence of the debate feels more like an intellectual contrivance than a discussion in which the decisions made there will be seismic for all the women involved.
And in this case what happened in real life is what will give you the true ending of this story.… Expand

1 of 2 users found this helpful11

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8

HerickDienerFeb 28, 2023

"Women Talking" tem a maior quantidade de atrizes talentosas por metro quadrado no cinema em anos, com um aceno especial para o trio Claire Foy, Rooney Mara e Jessie Buckley.

O cenário quase claustrofóbico não me incomodou, como a maioria. E"Women Talking" tem a maior quantidade de atrizes talentosas por metro quadrado no cinema em anos, com um aceno especial para o trio Claire Foy, Rooney Mara e Jessie Buckley.

O cenário quase claustrofóbico não me incomodou, como a maioria. E a fotografia evidenciando os olhos marejados em grandes cenas foi um destaque. Eu tiraria uns dez minutos da cena final, que ficou mais longa do que deveria. Sarah Polley quis nitidamente fechar quase todas as pontas soltas que o enredo poderia deixar, mas algumas ninguém ia sentir tanta falta.… Expand

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1

praneelrajaDec 24, 2022

It’s not dumb. Women Talking even has some vigorous dialogue passages in the opening section, stemming from the aftermath of rape from the faceless men in the community. Hey, I went in cold and so in the opening minutes thought this was aIt’s not dumb. Women Talking even has some vigorous dialogue passages in the opening section, stemming from the aftermath of rape from the faceless men in the community. Hey, I went in cold and so in the opening minutes thought this was a look at the late 1800’s. Or early 1900’s. Then a bombshell came when the one male figure makes a reference to Italy fascism during World War II. Then we see another device in the form of a modern pick-up truck. I started to think for a second, is this some cerebral science fiction? Then I thought, this isn’t the Amish because they’re not dressed like Amish. Then I remember seeing “Silent Light” (2007) about the secular Mennonites in modern times. Ultimately, what this is, is an allegory about female migration.… Expand

3 of 10 users found this helpful37

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7

j1trainDec 2, 2022

While it too often feels more like an intellectual and ethical exercise than a movie, it's still at times captivating. A powerful performance from Claire Foy.

1 of 5 users found this helpful14

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6

TVJerryJan 23, 2023

The title pretty much sums it up. A group of women in an isolated religious colony (similar to the Mennonites) address sexual assaults from their men. Writer/director Sarah Polley has assembled a top shelf cast, including Rooney Mara, ClaireThe title pretty much sums it up. A group of women in an isolated religious colony (similar to the Mennonites) address sexual assaults from their men. Writer/director Sarah Polley has assembled a top shelf cast, including Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey and France McDormand. They bring power to the characters with their dramatic monologues and continuous debate. As the only man in the cast, Ben Wishaw creates some moving moments. Polley's direction is quietly cinematic with flourishes that add depth and texture (and a de-saturated look that renders it almost monochromatic). Even with their personal stories, there's not much dramatic impact to this extended deliberation. It's more about the arguments and performances than creating an effective emotional experience.… Expand

0 of 2 users found this helpful02

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8

MarkHReviewsJan 31, 2023

They would wake up sore, bruised and often bloodied. Women and girls ranging in age from 5 to 65 were rendered unconscious by a cattle anesthetic, then raped and sometimes beaten. Unmarried girls in this remote Mennonite community becameThey would wake up sore, bruised and often bloodied. Women and girls ranging in age from 5 to 65 were rendered unconscious by a cattle anesthetic, then raped and sometimes beaten. Unmarried girls in this remote Mennonite community became pregnant. A young child required antibiotics for a sexually transmitted disease.

A title card at the beginning of “Women Talking” indicates that “what follows is an act of female imagination.” While that may be true for the dramatization central to this story, the underlying facts are quite real. From 2005-2009, in a remote Mennonite community in Bolivia over 150 women and children were raped after being administered a cattle anesthetic. Eventually, 8 Mennonite males were convicted for these crimes, with each sentenced to 25 years in prison. They remain incarcerated today.

In 2018, Miriam Toews, a Canadian Mennonite, wrote the book “Women Talking,” a fictionalized account of this story. She co-wrote the screenplay for this film with Director Sarah Polley (“Stories We Tell,” “Take This Waltz”). In this dramatization, there are no police or other outside authorities to rely on. In the primary action of the film, the women of the community convene to decide among themselves how they will respond to this continuous abuse. Should they do nothing? Stay and fight back? Leave? Because much of the film centers on, wait for it, women talking, this film fortunately features actors with the skill and charisma to hold the attention of the audience. Mariche (Jessie Buckley – TV’s “Fargo”) represents stoic fatalism. Salome (Claire Foy – early seasons of “The Crown”) represents rage and an unbridled zeal to protect her children going forward. Agata (Judith Ivey, a staple for years on TV and Broadway) offers the experienced perspective of an elder. Ona (Rooney Mara – “The Girl with the Dragon Tattoo”) has the most nuanced role, reflecting a desire to overcome what has happened by developing the capacity for forgiveness. The only male in this ensemble cast is August (an outstanding Ben Whishaw – Q, in the latest Bond installments), who takes the minutes for this group conversation, a role made necessary because these cloistered women were never allowed to learn to read or write. While the dialogue often feels like a play and the film has the limitations of a chamber piece, Polley and Toews carefully raise enough interesting issues to keep the momentum from stalling. Because there’s so much emphasis on dialogue, Composer Hildur Guonadottir (“Taŕ”) provides an understated score that’s pitch perfect. And Cinematographer Luc Montpellier (TV’s “Counterpart”) uses a muted color palette to ensure viewers focus more on what they characters have to say, less on how they look.

Because Director Polley wisely chose not to depict any of the assaults, this isn’t a film that’s hard to watch. It’s a film that feels urgent, important and disquieting. But Best Picture? Not so much.… Expand

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8

lessacebolaMar 11, 2023

Um filme que é bastante tenso emocionalmente, os sentimentos das personagens são muito bem transmitidos.

0 of 1 users found this helpful01

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6

royalguy07Feb 18, 2023

Fully fleshed characters expertly acted and portrayed in an dire and impossible situation.

0 of 1 users found this helpful01

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7

alanpotter17Mar 5, 2023

As cenas iniciais do longa já dão conta de retratar tudo aquilo que será exposto em quase duas horas, e é exatamente aquilo que o título descreve: um divã entre mulheres dado os casos de estupro ocorridos em algum lugar, em algum contexto.As cenas iniciais do longa já dão conta de retratar tudo aquilo que será exposto em quase duas horas, e é exatamente aquilo que o título descreve: um divã entre mulheres dado os casos de estupro ocorridos em algum lugar, em algum contexto.
Como as palavras das mulheres costumam ser invisibilizadas, o filme já deixa claro não só a perspectiva feminina, mas também o fato de que tudo não possa ser encenação ou exagero.
Confesso que, em meu olhar de homem cis, achei sim bem exagerada, na verdade um grande DR entre mulheres. Basicamente, o roteiro vai construindo argumentos para discutir se elas fogem dali ou ficam para confrontar os homens. É como se de certa forma, esse fosse o dilema pessoal de cada ou de toda a mulher, como se cada personagem ali talvez pudesse ser uma das diversas vozes que há em uma única mulher.
Essa sensação pode ser confirmada devido a maioria das cenas terem sido gravadas num único espaço, o que foi até gostoso de acompanhar na maioria dos momentos. Há alguns monólogos interessantíssimos, mesclando questões femininas com cristãs. Não sei se soou anacrônico, tendo em vista que o filme parece acontecer em algum momento do passado, mas tornou o filme um soco no estômago em diversas vezes. Ainda assim achei cansativa a masturbação psicológica, com um clímax que é bem inferior ao que vinha sendo apresentado.
Fiquei com a sensação de que uma peça de teatro seria a melhor forma de adaptação, já que basicamente o filme se sustenta nas palavras e na forma de argumentação que cada corpo feminino possui. É tocante algumas vezes. Há a presença de um gentil professor no meio daquelas mulheres, além de uma mulher mais masculinizada, o que só enriquece o universo.
Os demais homens quase não aparecem, mas são citados a todo instante. Não sei até que ponto o filme reforça papéis de gênero bidirecionais, mas o fato é que o filme toca em feridas muito importantes, como o papel da mãe em casos de violação do corpo de suas filhas, a questão da sororidade, da habilidade de organização, etc. Aliás, o lado bom do filme é perceber que não são casos isolados, e sim parte de uma estrutura social misógina.
Um bom filme, que põe a mulher, seus desejos e problemas para discutirem entre si, e pra mim funcionou para mostrar alguns conflitos que eu como homem jamais passaria.… Expand

0 of 1 users found this helpful01

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8

bertobellamyMar 6, 2023

¿Leave, remain silent, or stay and fight? The film's conflict mirrors the choice every woman who has experienced abuse must make after it. 'Women Talking' unfolds like a play, and Sarah Polley does a stellar job by making every line feel¿Leave, remain silent, or stay and fight? The film's conflict mirrors the choice every woman who has experienced abuse must make after it. 'Women Talking' unfolds like a play, and Sarah Polley does a stellar job by making every line feel urgent or poetic. Through a series of tragic conversations, the film exposes different points of view and a full range of emotions about the consequences of the attacks. But everything gets more complicated when faith is involved. How to proceed when eternal salvation is also at stake? The choice gets more difficult. Somehow, inside this tragic and nefarious story, Polley and writer Miriam Toews — who appeared in Carlos Reygadas' 'Silent Light' — have found the most beautiful thing: sorority as a way to resist.… Expand

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2

netflicJan 28, 2023

Boring and pretentious nowadays politically correct propaganda. Don't waste your time and money.

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7

moviemitch96Jan 12, 2023

In 2010, group of women in a small isolated Amish community convene in order to decide what course of action to take after they are attacked, raped, and impregnated by several men. They are faced with the decision of either remaining in theirIn 2010, group of women in a small isolated Amish community convene in order to decide what course of action to take after they are attacked, raped, and impregnated by several men. They are faced with the decision of either remaining in their village and fighting back and taking revenge against those who hurt them, or leaving in the hopes of a better and more hopeful future for themselves and their children. Directed by Sarah Polley and adapted from a novel of the same name, the film is a poignant, harrowing, and detailed look at gripping themes, moral crossroads, and humanity. While the film is a little slow moving at times, you won't get a much finer acting ensemble than the one on display here, with Rooney Mara leading the way in a brave and incredibly strong performance. Supporting players, such as Claire Foy, Jessie Buckley, Ben Whishaw, and even Frances McDormand in an all-too small role (also a producer on the film) provide even more dramatic weight with their headstrong performances. The cinematography/coloring is as bleak as the story and situation the characters find themselves in, and even the somber yet haunting musical score feels like a character of its own. However, while the film's message is undeniably powerful, its trajectory to the film's final moments also feels a bit predictable and anticlimactic in certain regards. Overall, a rather pedestrian approach at very heavy subject matter can't dampen the impact left by the ensemble's outstanding performances, cinematography, and score.… Expand

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9

AJ_13Mar 9, 2023

THE GOOD: Sarah Polley's determined and poethic directing, amazing performances by Buckley, Wishaw, Mara and Foy and some great dialogue. I cannot comprehend how this missed a nomination for Best Score. If this doesn't win Adapted Screenplay,THE GOOD: Sarah Polley's determined and poethic directing, amazing performances by Buckley, Wishaw, Mara and Foy and some great dialogue. I cannot comprehend how this missed a nomination for Best Score. If this doesn't win Adapted Screenplay, I will riot.

THE BAD: I'm not totally into the desaturation of the color pallette.… Expand

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4

AmblerEdwardFeb 18, 2023

Overpraised film in my opinion despite the stellar acting. There's clearly a justified rage and causation in this community. There's clearly trauma that has been inflicted, but the setting where this occurred is so confined to the "menfolk"Overpraised film in my opinion despite the stellar acting. There's clearly a justified rage and causation in this community. There's clearly trauma that has been inflicted, but the setting where this occurred is so confined to the "menfolk" outside of this barn that it both paints the real Amish and Mennonite communities with a broad brush without enlarging its scope to actual events in modern day religious-agrarian societies. As a male, I agree that the male hierarchies and toxic masculinity have and continue to oppress, but this time and place was so artificial as to sabotage a larger message. An example of how myopic and contrived this place was, there was 90 minutes of debate of whether the women should leave or not, and not once does anyone ask how they can even afford a parcel of land when they weren't even permitted to learn to read.… Expand

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