Adapted from Miriam Toews’ novel of the same call (itself loosely based totally at the real occasions that befell at the Manitoba Colony in Bolivia), writer/director Sarah Polley’s brand new movie “Women Talking” follows a group of Mennonite women who meet in a barn to speak about their network’s future. Early on in the film, it is discovered that the guys of the community had been drugging and raping the women (and some teenage women) at night for years. While the guys are away from the colony serving a light sentence, the women convene to invite themselves whether or not must they stay or cross.Polley’s maximum achieved film so far, “Women Talking” grapples with heavy thoughts via actual democracy—the sharing of ideas with room for questioning and debate. There are no absolutes on this international. Like Alice Diop’s extraordinary “Saint Omer,” additionally coming out this month, Polley’s film plays like a courtroom drama with spellbinding storytelling at its center. Each monologue is instructed with the know-how of a myth, matched by using Luc Montpellier’s intentionally bleached cinematography, wrapping the movie in an air of mystery of the beyond as they search for the direction towards their future.

Polley has filled out her striking ensemble cast with a aggregate of famous names like Rooney Mara, Claire Foy, Jessie Buckley, and those who have to be extra famous including Judith Ivey and Sheila McCarthy. Producer Frances McDormand seems in a small, however pivotal position as an elder whose suffocatingly conventional ideas hold over the complaints like a fog. The ever-mild Ben Whishaw is the one accurate guy, a school trainer who in brief left the network, and acts as the scribe for the ladies as they plot out now not most effective what a higher destiny for them and their youngsters might be, however how to attain it.

For this month’s Female Filmmakers in Focus column, spoke to Polley on the Chicago International Film Festival about the movie’s particular coloration grading, the demanding situations of casting such an interlocked ensemble, her model process, and what real democracy in motion truly looks as if. I assume after they start having this communication in the hayloft they’re already consigning the arena they stay into the past. It’s already executed due to the fact they are having a communication approximately it and a way to alternate it. So for me, it became crucial that it looks like a faded postcard. That there be a experience of nostalgia and of a colorlessness. A sense that anything it’s far, this global that they may be speakme about would not exist anymore due to the fact the very reality of them having the verbal exchange is moving that fact. I also knew that it had to exist inside the realm of a myth, that it could not look realistic, or in fact, the complete heightened fact of the film and its premise and the conversation itself would collapse. So there needed to be constantly present, visually, the experience of a fable or a heightened reality or some thing that wasn’t rooted in fact.