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Women Talking
(l-r.) Michelle McLeod stars as Mejal, Sheila McCarthy as Greta,Liv McNeil as Neitje, Jessie Buckley as Mariche, Claire Foy as Salome, Kate Hallett as Autje, Rooney Mara as Ona and Judith Ivey as Agata in director Sarah Polley’s film, Women Talking. An Orion Pictures Release [credit: Michael Gibson © 2022 Orion Releasing ]

Here is the official poster for Women Talking, the drama directed by Sarah Polley set to World Premiere at the Telluride Film Festival this Friday, September 2nd, with a special tribute to the Polley. Based on the novel by Miriam Toews, the film is set in 2010 where the women of an isolated religious community grapple with reconciling their reality with their faith.

Women Talking stars Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, with Ben Whishaw and Frances McDormand; will be released in select theaters on December 2nd, expanding December 25th.

movie poster for Women Talking directed by Sarah Polley

In a statement, writer and director Sarah Polley said, “In Women Talking, a group of women, many of whom disagree on essential things, have a conversation to figure out how they might move forward together to build a better world for themselves and their children.

Though the backstory behind the events in Women Talking is violent, the film is not. We never see the violence that the women have experienced. We see only short glimpses of the aftermath. Instead, we watch a community of women come together as they must decide, in a very short space of time, what their collective response will be.

When I read Miriam Toews’ book, it sunk deep into me, raising questions and thoughts about the world I live in that I had never articulated. Questions about forgiveness, faith, systems of power, trauma, healing, culpability, community, and self-determination. It also left me bewilderingly hopeful.

I imagined this film in the realm of a fable. While the story in the film is specific to a small religious community, I felt that it needed a large canvas, an epic scope through which to reflect the enormity and universality of the questions raised in the film. To this end, it felt imperative that the visual language of the film breathe and expand. I wanted to feel in every frame the endless potential and possibility contained in a conversation about how to remake a broken world.

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