2010年。キリスト教の一派、メノナイトに属する信徒たちが人里離れた場所でコミュニティを営んでいた。そんなある日、女性たちはある恐るべき事実を知る。コミュニティの男たちが女性に薬を盛り、意識を失っている間にレイプするという非道な振る舞いを何年にもわたって続けていたのだと。女性たちは屋根裏部屋で今後どうすべきかを話し合うことにしたが、議論は信仰や赦しの問題にまで及んでいく。
製作費: $20,000,000 (30億円)
興行収入: $7,589,419 (11億円)
推定収支: $-12,410,581 (-19億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: サラ・ポーリー
脚本: サラ・ポーリー / Miriam Toews
制作: デデ・ガードナー / ジェレミー・クライナー / Lyn Lucibello
撮影監督: Luc Montpellier
制作会社: Plan B Entertainment / Hear/Say Productions / Orion Pictures
FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/women-talking-spoiler-free-review-lff-2022 "Women Talking holds a lovely score by Hildur Guðnadóttir and features truly mesmerizing performances - Claire Foy being a clear standout - with emotionally powerful monologues that can break even the least sensitive viewer. Sarah Polley's exceptionally written and choreographed screenplay tremendously enriches the primary debate driven by the fully developed characters, where trauma, religion, acceptance, forgiveness, revenge, and power are some of the most memorable themes. The detail and complexity that go into each character demonstrate remarkable dedication and care. Worthy of several (and inevitable) awards." Rating: A-
A thought provoking and moving, truly remarkable film. Could have been made with such dryness but Sarah Polley's inventive direction and incredible script combine wonderfully. Wisely chooses to be both gutting and uplifting. The discussions brought up are fascinating and not a single line of dialogue is wasted. All delivered by an outstanding cast, with Jessie Buckley being the best in show in a nuanced and fierce performance. One of the best of the year.
I found this to be a curiously compelling drama that takes us to a fictional town where the women meet to decide how best to combat the brutality being routinely visited upon them. They must evaluate the pros and cons of staying and forgiving, of fighting back - or of just getting out of the place. Each position has some merit, and there is no clear cut solution as they convene in an hayloft and, with the help of their unassuming school teacher "August" (Ben Whishaw), come to this most difficult of decisions. Now I will admit to being somewhat confused as to exactly whom they were in fear of, and of just how they found themselves entirely alone whilst their husbands were all off in town trying to raise the ransom for those who inflicted the violence in the first place (though clearly not for the first time) and had somehow been apprehended and detained by the authorities. Frances McDormand's "Scarface" has endured this suffering for a long time, as has Judith Ivey's "Agata" but they take differing stances, leaving the younger women led by the fractious "Mariche" (Jessie Buckley), "Ona" (Rooney Mara) and a slightly underwhelming Claire Foy ("Salome") to make a choice that will apply to all the villagers - women and their children. Can they conclude their deliberations before their men folk return? On the face of to, their deliberations ought to have been fairly straightforward, but Sarah Polley introduces a layered approach to their conundrum. There is faith; there is fear - of the known and the unknown; there is also a degree of reluctance amongst the women to have an open and frank conversation and this frequently leads to a sharp and tetchy conversation that successfully heightens the drama and gradually develops some of the characters. It has an observational nature to it that I found quite enthralling - and despite not having enough context to quite appreciate the entire scenario, I did find this interesting to watch.
With this film, Sarah Polley joins the club of world-class directors. In a film that could have been way too talky, there is humor and pathos; there is character development; there is thoughtful movement and brilliant timing. The great acting and directing make this a truly delightful, emotional film to watch. If that weren't enough, it explores all the topics: religion, power, gender, rape, and virtual slavery.
**By: Louisa Moore / www.ScreenZealots.com** Writer / director Sarah Polley brings novelist Miriam Toews‘ acclaimed novel to the screen in “Women Talking,” a story that, despite its secluded religious colony setting, has themes that ring true throughout America’s history of antiquated patriarchal systems. It’s a film about the strength of women and their ability to work together despite differing perspectives, opinions, and ideas about faith and life. This is a talky film with difficult subject matter, dialogue, and situations (it’s important to note that while the descriptions are vivid, no scenes of abuse are depicted onscreen), but it’s also a story that is hopeful and empowering. The film takes place in a Mennonite colony where, after learning that they have been repeatedly drugged with cow anesthetic and raped while unconscious by the men in their colony, a group of women meet in a hayloft to discuss their options. They’ve settled on three: stay and fight, flee, or do nothing. None of the choices are easy, and no one can agree on the right answer to this unrelenting, endless cycle of sexual, physical and emotional abuse. The film is one long conversation about what the women will choose to do as a collective response to the violence they have endured. Some are afraid to leave behind their sons and husbands. Others worry that any act of defiance will prevent them from entering heaven when they die. Their religious leaders have instructed them that if the men ask for forgiveness, it must be given. It’s heartbreaking to watch as many of these mothers, daughters, grandmothers, wives, and sisters debate the difficult and limited options available to them, with their faith playing such a strong role in their decisions. I loved the film’s dark, vintage look and feel, courtesy of Luc Montpellier’s cinematography. His photography is the perfect complement to the project’s tone, with a muted palette and de-saturated colors that reflect the trauma and emotionally complex nature of the story. The script is as complex as the performances, and the lead cast (including Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Ben Whishaw, August Winter, and Frances McDormand) is up to the challenge. There’s no clear standout acting-wise, as all of the cast give sophisticated turns. It’s at first confusing to keep each character and their relationships straight, especially since the film jumps right in and you have to be on your toes to keep up. Prior experience with the source material isn’t necessary, but may be helpful. Polley’s adaptation of the novel doesn’t push boundaries as much as it could’ve, and the film is not quite as gutsy or fearless as some have claimed, but “Women Talking” is a bold statement on the subjugation of women, feminist ideals, and the way a society could be stronger if people would just come together and be willing to listen to each other.
