“ ‘Women Talking’ is both horrifying and thrilling, infuriating and inspiring,” tnyfrontrow writes. “But it’s also a film at odds with itself.”
’s eponymous novel. Polley is also the film’s director, and the cinematic package in which the text is delivered doesn’t entirely do it justice.
One family is that of Agata and her daughters, Ona , who is unmarried and is pregnant after being raped, and Salome, pronounced to rhyme with “shalom” , whose four-year-old daughter was raped and infected with a sexually transmitted disease. Another is the one headed by Greta , whose older daughter, Mariche , is married to a brutally violent man, and whose younger daughter, Mejal , also a survivor of an attack, is aware of the destructive effect of the gaslighting that she has endured.
The discussions involve the morality of violence, the nature of true forgiveness, the question of male nature, and the ineluctable responsibility borne even by men of the colony who weren’t among the attackers. They involve the women’s own sense of guilt and shame in their long-standing complicity in the men’s abuses, and the devastation of selfhood—the soul-murder—resulting from the physical violence, the mental abuses, and the oppressive environment that the women have confronted.
The movie’s soundtrack is burdened with a score, by Hildur Guðnadóttir, that would be well worth hearing on its own but which, in the context of the movie, is subtraction by addition. The words themselves are music—profound, melancholy, chilling, rousing music—and need no supplement, which is only a distraction. Yet this superfluous emotional amplification is of a piece with the direction of the performances.
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