Film Review: “Women Talking”

Starring: Claire Foy, Jessie Buckley and Rooney Mara
Directed by: Sarah Polley
Rated: PG-13
Running Time: 104 minutes
United Artists Releasing

Our Score: 4.5 out of 5 stars

George Carlin once said, “There’s no such thing as rights. They’re imaginary. We made ’em up. Like the boogie man.” I open my review with that quote for two reasons. First being that 2022 was the year that women experienced the loss of their body autonomy rights. Second being that the women in “Women Talking,” never had rights because of the boogie man.

“Women Talking” opens with a group of women in an unnamed religious colony discussing the revelation over the prior days/weeks that ghosts or Satan aren’t behind the drugging and raping they’re experiencing. Nope. It’s the men who live among them. Their friends, their neighbors, their fathers, their spouses, etc. For years, those men have been the ones who have been drugging the women so that they can sneak in at night and rape them only to tell them the next day it’s the boogie man. With this revelation, something has to happen, right? The men are caught and arrested, but the rapists post bail and are on their way back home as if nothing happened. The women at this discussion represent different houses of thought on what to do before the rapists return. Some women believe they should do nothing and continue to be the subservient class in this community. Others believe it’s time to stay and get their fists and noses bloodied. A good portion believe that it’s simply time to leave.

Unfortunately the above scenario is not the work of Hollywood, it is based on a book written by Miriam Toews, a former Mennonite girl who fled her Canadian Mennonite community when she turned 18. “Women Talking” isn’t looking to bash one of the more peculiar sects of Christianity though. Outside of showing the horrific reality that women are still second-class citizens in portions of the world, “Women Talking” also examines a very key question in trauma, “What now?” The three options above spur fascinating on-screen discussions that cross the proverbial universe of these women. The revelations are handled differently, with some women still drinking the flavor aid that the best option is to ignore the crimes because…God’s “wishes?” Other women want to leave, but then wonder if that means taking their children. Some of their children are boys, does that mean their boys will grow up to become rapist monsters? Do they leave the boys? Can any man be trusted? If the women stay and fight, how will the community as a whole react? What will stop the men from banding together and retaliating if it’s a war between the sexes?

A film like “Women Talking,” which thankfully spares the audience the visuals of the rapes, relies heavily on its actors and script, and both are a cannon shot across the bow. Not only are the perpetrators called out in the story, but the real world is called into question by these discussions. I could break down the stellar performances and moments, but “Women Talking” is truly a film that demands attention and silences you with the power of words. At times the film is an emotional wrecking ball, making the words of these women more powerful than any scene featuring the crimes themselves. The casting is truly spotless because even the lone man (played by Ben Wishaw) in the community, who is helping the women by keeping record of their discussions and chiming in when called upon, adds emotional layers to the women debating something they’ve probably never debated or even discussed before.

In a lot of ways, “Women Talking” plants its feet in the past and in the present day. In some regards you can view the film as a historic look at how women finally release themselves from the shackles of their oppressors to give rise to a movement and help create the birth of a new society, one in which both sexes are equal. You can also see the modern commentary hidden in the tearful debates between our characters. Either that or the old idiom is true, history is doomed to repeat itself. Foy, Buckley and Mara lead the way for this ensemble cast tasked with not only conveying a powerful message, but doing it in a riveting way where the viewer will either find themselves teary eyed, aghast or silent. For some viewers, those who have already seen the movie, “Women Talking” bookended a rough 2022 for women in America, and for some viewers, this film is your rallying cry in 2023.

Film Review: “Three Billboards Outside of Ebbing, Missouri”

Starring: Frances McDormand, Woody Harrelson and Sam Rockwell
Directed By: Martin McDonagh
Rated: R
Running Time: 109 minutes
Fox Searchlight Pictures

“Raped While Dying.” “And Still No Arrests?” “How Come, Chief Willoughby?” The billboards put up by Mildred Hayes (McDormand) hope to shed more light on the rape and violent murder of her daughter Angela. But the billboards aren’t the powder keg, they’re the fuse. The bright red billboards with black lettering quickly become the talk of the town, despite being placed on a rural stretch of untraveled road outside the sleepy Missouri town of Ebbing. Frustration turns to anger. Anger turns to rage. Rage turns to violence.

As “Three Billboards Outside Ebbing, Missouri” slowly unravels and reveals it’s hodgepodge of townsfolk and officers in the local police department, we learn that justice isn’t black and white, literally and figuratively. We learn that Chief Willoughby (Harrelson) isn’t incompetent or ignoring Angela’s murder, but the case has simply gone cold. We do however learn he acts as warden of his own prison that houses racist, bigoted officers, some of whom are drunk and known throughout town for savagely beating minorities.

What director and writer Martin McDonagh does so wonderfully is avoid propping the two opposing sides, Mildred and the Ebbing Police Department, as the heroes and villains. All the characters in his film are flawed creatures, and McDonagh twists the audience’s expectation on their heads and plays with our distaste and sympathy simultaneously. Despite the obvious commentary on contemporary on social and political topics, McDonagh constantly reminds us that morality is a fluid beast.

For a film with such dark thematic content, like rape, murder, racism and hatred, there’s a lot of witty dialogue and wicked humor. It’s a perfect counter-balance to some of the film’s more gripping moments, serving as an exhale during those tense scenes. There’s even a twinge of sardonic humor for those guilty enough to laugh at it. The laughs are mainly led by Mildred in her most ferocious moments or when one of Ebbing’s most incompetent boys in blue, Officer Jason Dixon (Rockwell), wants to retort.

McDonagh is a master at introducing characters and automatically telling the audience who they are, but at the same time manipulating their actions in realistic manner that subverts our expectations. Caught in the war between Mildred and the police is the townsfolk, sometimes offering their condolences in private, but publicly taking the side they disagree with. It’s an honest portrayal of small town politics, how rumors become truth, and how sometimes no one’s really right or wrong in an argument.

Led by an outstanding cast, “Three Billboards Outside Ebbing, Missouri” is a smartly written film capturing the raw emotion of tragedy, it’s tangled aftermath and how attempts at a resolution sometimes leads to more pain. It conveys a lot of unspoken truths without providing a lot of answers. If “Three Billboards Outside Ebbing, Missouri” has a message, it’s not one of optimism or pessimism, but it’s complicated, just like the characters populating this rustic Show-Me state town.