Review
Culture
Trauma
5 min read

The overwhelm

What follows is an act of female emancipation. Belle Tindall reviews the Oscar-winning Women Talking.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

a group of women stand and sit around a table lit by a gas lamp.
Women Talking's lead characters meet together.
Universal Pictures.

A trigger-warning to our readers: this article tackles the themes of sexual and physical abuse, which, for some readers, may make this piece a particularly hard one to read.  

The title to this film could be so many things: women forgiving, women fighting, women growing, women shrinking, women believing, women doubting, women conserving, women demolishing. If you find yourself settling down to watch Sarah Polley’s masterful film, you’ll witness eight women from a Mennonite community in America do all of this, and infinitely more.  

Women Talking will be unlike any film you’ve seen before.  

In an eerily context-less setting, the women of an isolated religious community come to the traumatic realisation that they have been abused, violently and systemically, for many years. This abuse has been at the hands of the men in their radically patriarchal community: their fathers, their brothers, their uncles, their sons. Catching one of these men red-handed, the women realise that what they had long been manipulated into thinking was either their own irrational imaginations or ghostly/demonic encounters, was actually sexual abuse perpetrated by the men they had shared their entire existence with. The men they had raised. The men who had raised them.  

Based on the acclaimed novel by Miriam Toews and inspired by a harrowing true story, the Oscar-winning script offers us a front row seat to the falling apart of an entire reality as these women begin to unravel all that they know to be true.  

Do they stay and forgive the men? Do they stay and fight to the (literal) death? Or do they leave and make a new home for themselves in an outside world they know nothing of? This is the question that drives the narrative of the film as eight representatives from three different families are tasked with coming to a decision, this is the conundrum that has the women talking.  

'This film tackles a truly traumatic subject with the utmost care, it is as empathetic as it is empowering.'

With a sense of specific time and place that is only given one opportunity to interrupt the narrative (in the form of a call for the residents to be counted in the 2010 census), there is a distinct sense that this story is tragically universal in its nature. As countless critics have observed, this film tackles a truly traumatic subject with the utmost care, it is as empathetic as it is empowering. It does not minimise the atrocities that these women and girls have experienced, nor does it sensationalise them. Through the immensely talented ensemble cast, Director, Sarah Polley has curated a spectrum of raw and complex emotion - brutal honesty, righteous anger, utter despair and rebellious hope are weaved together to create a tapestry of reaction.  

The complexity and care with which this story is told is a gift to the women who inspired the film, and to the women who will watch it.  

Audiences watch as the powerful rage of Salome (played by The Crown’s Claire Foy) is countered by the defiant gentleness of Ona (Rooney Mara), while the loud terror of Mariche (Jessie Buckley) is quelled by the silent care of Melvin (a transgender character played by August Winter). And, all the while, not one reaction is judged. Every woman is given the right to her own natural response, and the right to have that response shift and stretch and adjust. The dignity and love that flows out of this conversation is somewhat of a masterclass in the beginnings of healing and the liberation that follows.    

And yet, the film has even more to offer its audiences, there’s yet another question that is written into the rock of Women Talking, one which was articulated by the director herself  -

‘What does it mean to be true to your faith? What does it mean to get rid of the structures that have sprung up around your faith, that are insidious and corrupting?’ 

It is utterly fascinating: the women are determined to rid themselves, one way or another, of the men who have hurt them so deeply, but they refuse to be separated from the God whose name has been manipulatively enacted in the process. Where we are so used to the entanglement of God and the people who wrongfully use him as a means to an awful end, these women seem to demonstrate quite the opposite. And what’s more striking is that they do so, not out of obligation or duty, but out of pure love and hope.  

When the women speak of earthly things, there is a heaviness to their voices. When they speak of God, their words feel light.  

We see them recite the Bible in moments of overwhelm, meditate on it in moments of decision-making, pray it in moments of panic, and refer to it in moments of relief. It is their faith that fuels their rebellion, it is their belief in God that informs their desire for more. A verse from the Bible is ultimately the catalyst for their decision to leave, as they choose to re-build their lives on ‘whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable’. It seems that if the oppressors wanted these women to believe that they were inherently less than, they simply should not have introduced them to a God who tells them differently.  

One of the most powerful monologues comes from a bruised and bleeding Mariche towards the end of the film. She says,

‘We have decided that we want, that we are entitled to, three things… we want our children to be safe, we want to be steadfast in our faith, and we want to think’.

Her weighty words are responded to with tears and with a song. The sound of the women singing the words ‘nearer my God to thee, nearer to thee’ becomes the soundtrack to them packing up their lives as they leave familiarity in search of freedom, a freedom which is not intended to create distance between them and God, but to bring them nearer to each other.  

To watch faith flow from the wounded is humbling. To see the complexities between God and hurt play out in this film is captivating. It feels compellingly honest, and messy, and real

The Oscar win and the endless five star-reviews are sufficient evidence of the power of Sarah Polley’s Women Talking. But deeper evidence may also be found in the profound catharsis felt by those viewers who, in varying contexts, are trying to disentangle their faith from their hurt, or perhaps the curiosity of those who are left wondering what kind of a faith would ever be worth such an endeavour.  

 

 

Explainer
Culture
Gaza
Israel
Politics
5 min read

Politics is the only way to solve the tragedy of Gaza

Trump is not the first person to want to create a Riviera by the Mediterranean.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A sign projected on to the Houses of Parliament reads: how many is too many.
A projection protest sign, London.
Christian Aid.

Whichever side you take in the Israel-Gaza conflict, the stories can't help bring a sense of desperation. Images of starving children, the fate of Jewish hostages still held in darkness - either way, this remains a place of unimaginable suffering. And meanwhile, the bombs keep dropping, people die, and Hamas retains its hold. 

Among Israel’s friends, voices have been murmuring a radical solution to the problem of Gaza. Donald Trump’s plan was to raze the territory to the ground, shift 50 million tonnes of debris and displace its people to neighbouring countries to build the ‘Riviera of the Middle East’ in what had until now, been Gaza. The plan might have been met with some amusement when it was aired, but it gave permission for many within Israel to think similar thoughts.  

Bezalel Smotrich, the Israeli finance minister, recently claimed that after the Israeli operation, “Gaza will be entirely destroyed” and its Palestinian population will “leave in great numbers to third countries.” Many within Israel seem to think the stubborn, Hamas-ridden enemy living next door needs to be eradicated. To a population weary of decades of conflict, fearing that there will never be peace while Hamas remains in Gaza, and aware of how difficult it is to winkle out the Islamic terrorist group while the Palestinian population remains there, you can understand the attraction of this radical solution. 

However, the Israelis might have good reason to be cautious. And that is not a counsel from their opponents - but from their own history.  

In the early 130s AD, the boot was on the other foot. It was the mighty Gentile Roman Empire that ruled over the same patch of land, which they were soon to call Palestina. Jews were a minority, but they still harked back to their long roots in the land, the days of Joshua and King David, and even more recently to the Jewish Hasmonean kingdom 200 years before - the last time before the modern state of Israel that Jews were in control of the land. 

The emperor at the time, Hadrian, passed through Jerusalem in 130 AD, along with his entourage and his lover, the young slave boy Antinous. He started to paganise the city, erecting statues of gods and emperors, even of his young favourite, all of them offensive to Jewish sensibilities. The smouldering resentment soon erupted with a revolt led by a fierce and determined Jewish fighter, Bar Kokhba. This was the second Jewish uprising after the earlier one in the 60s that had led to the destruction of the great Jewish Temple in Jerusalem by Titus, under the reign of the emperor Vespasian in 70 AD. For the Romans, one revolt might just be tolerated, two was too much.  

Hadrian came to the same conclusion as Bezalel Smotrich – a rebellious territory had to be erased from the map, although this time, it was Jerusalem that was to be eliminated, not Gaza. Its Jewish population was to be scattered, its name deleted, and memories of past glories buried for good.  

And so, in 135 AD, the bulldozers moved in. Jerusalem was effectively flattened, and a Roman city built on its ruins. Aelia Capitolina was its new name, a smaller city, yet decadently built around the worship of Greek and Roman gods, with splendid gates, pagan Temples, a classic Roman Forum, expansive columned streets – not quite the Riviera of the middle east, but maybe the Las Vegas. ‘Jerusalem’ was scrubbed from the map. 

At the centre of the sacred Jewish Temple Mount, Hadrian erected a statue of himself. He deliberately planted a statue of Aphrodite over the very spot where the early Christians insisted that the death and resurrection of Jesus had taken place – where the Church of the Holy Sepulchre stands today. Circumcision was outlawed, many Jews were killed, and those remaining were banned from the city, dispersed anywhere where they could find shelter. In fact, the map of the Old City of Jerusalem today is still marked by this design, with the two main Hadrianic streets diverging south from the Damascus Gate, with archaeological remains of the Roman city still visible for visitors. 

Yet of course it didn’t work. No-one calls it Aelia today. People's attachment to land goes deep. The Jews could not forget their roots in this patch of the earth's surface. As Simon Sebag Montefiore put it: “the Jewish longing for Jerusalem never faltered”, praying three times a day throughout the following centuries: “may it be your will that the temple be rebuilt soon in our days.” 

Palestinian attachment to land is similarly strong. Nearly 80 years after the creation of the state of Israel in 1948, families still cling on to the keys to homes that were taken from them during that traumatic period. Like the Jewish yearning for Jerusalem, they too, like people across the world, have a deep attachment to ancestral lands, which go back to the ‘Arabs’ mentioned in the book of Acts, to whom St Peter preached in the early days of the Christian church.  

Executive decisions by distant rulers such as the emperor Hadrian or President Trump might seem like neat solutions to intractable problems. But they seldom work in the long term.  

The famous biblical injunction ‘an eye for an eye, a tooth for a tooth’ was meant not as an encouragement to violence but the exact reverse. It was mean to set a limit to the development of blood feuds, which could, out of anger and trauma, so easily lead to disproportionate reaction and never-ending vendettas. When St Paul wrote “Beloved, never avenge yourselves, but leave room for the wrath of God; for it is written, ‘Vengeance is mine, I will repay, says the Lord’”, he was recalling an ancient piece of Jewish wisdom that set limits on human capacity to sort out intractable problems by violence. He knew a better way: “Do not be overcome by evil, but overcome evil with good.” 

Luke Bretherton, Regius Professor of Moral Theology at Oxford and a Seen & Unseen writer, argues that there are really only four ways you can deal with neighbours who prove difficult: you can try to control them, cause them to flee, you can kill them, or you can do politics – in other words, try to negotiate some form of common life, as ultimately happened in Northern Ireland, South Africa, and so many places of long-standing conflict. 

Politics, the business of learning how to live together across difference, is messy, complicated and hard work. Especially so when there are deep hurts from the past. Yet, as the failure of Hadrian’s radical solution shows, there is no real alternative in the long term. 

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