In “Women Talking” director Sarah Polley approaches the subject of sexual assault from a different angle and in doing so makes the conversation undeniable.
Emily Mitchell, from left, Claire Foy and Rooney Mara in a scene from"Women Talking."
And so, for her extraordinary film “Women Talking” she approaches this societal, cultural conundrum from a different angle and in doing so makes the conversation undeniable. The women in her film have no memory of the assaults at all. What they do have are bruises, blood and babies and a trauma so deep, so intractable that they no longer feel like themselves.
The younger mothers are different too. Jessie Buckley’s Mariche is full of bitterness and nowhere to channel it. Claire Foy’s Salome is bubbling over with rage. Her 4-year-old was assaulted and she wants to kill. Rooney Mara’s Ona, newly pregnant from an assault, is serious but romantic, looking at things as a poet might, from a kind of ivory tower she’s constructed for herself, despite the fact that none of the women have been taught to read.
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